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~~ 


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YOUR HOME AND ITS DECORATION 


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FY 


Your Home and 
Its Decoration 


A Series of Practical Suggestions 
for the Painting, Decorat- 
ing, and Furnish- 
ing of the Home 


Compiled and Published by 
The Sherwin-Williams Company 
Decorative Department 


1910 


Copyright, 1910, by 
THE SHERWIN-WILLIAMS COMPANY 


All rights reserved 


PREFACE 


N compiling this book, “Its Practicability’’ has been held 
constantly in mind. ‘The determination to publish a book of 
real assistance to the home builder has placed it on a different 

plane from other publications of this character. Much has been 
written on the subject of Home Decoration, and in almost every 
instance the one vital point, “Practicability,” has been wanting ; 
many of these volumes are full of glittering generalities, from which 
very few of us can gather applicable points on decoration. There 
is a reason for this lack of real information and it is nothing more 
or less than the fear of that commercial tinge. It is that con- 
tinual beating around the bush trying to give practical information 
without supplying anything specific. 

We have endeavored to eliminate this difficulty in this volume. 
In the last chapters we have come out boldly and specified certain 
products which are necessary to produce certain effects, and we 
have gone carefully into the details of how such products should 
be used. In Chapter XX we have provided specifications for 
both color and duotone illustrations in the book. ‘These specifica- 
tions cover the complete decorations in each case, and in such parts 
as woodwork, walls, floors, etc., the reader is referred to the proper 
working specifications in Chapter XXI. In no other way can a 
book of this character be of real assistance to those who are about 
to decorate a new home or undertake redecorating of any kind. 

It is furthermore our desire to place the services of our Decora- 
tive Department at the disposal of our readers. ‘This department 
is fully equipped to furnish practical assistance to those who are 
about to build a new home or undertake remodeling or redecorating 


of any kind. 


ZO3BIG 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


CHAPTER 


XV 


XVI 


XVII 


XVIII 


XIX 


CONTENTS 


GENERAL SUGGESTIONS FOR THE TREATMENT OF THE EX- 
TERIOR OF HOUSES, 


eK ar ee a ee eee ee ee ke oe Pe PT aro OS 


DOORWAYS, 


GENERAL SUGGESTIONS FOR THE INTERIOR, 


“Pl ee ta ee, ee A 


THE IMPORTANCE OF THE STANDING WOODWORK, 26 
SIDE WALLS AND CEILINGS; . >.) = =) eee 32 
FABRICS, 9 0 0. GPa ey ee A 40 
ORIENTAL RUGS AND OTHER FLOOR COVERINGS, ..... 53 
BUNGALOW, SHORE, MOUNTAIN, AND SUMMER DWELLINGS, 65 
COLONIAL) HOUSES, (f-.05 dee: 0: ge 77 
ENGLISH STYLE. OF HOUSE) 4. 20tk a 86 
PERIOD, DECORATION. 2.3). o4.tp ee 95 
THE CITY FLAT, 7. eo ee ee 105 
REMODELING AND REDECORATING, ....5...5.5.. 109 
HOW TO DECORATE WITH STENCILS) -.) 9) eee 117 
PROPER PROTECTION FOR THE EXTERIOR,......... 121 
WOODWORK AND ITS TREATMENT, \...) i. eee 128 
THE TREATMENT OF SIDE WALLS AND CEILINGS, .... . 140 
THE PROPER TREATMENT OF FLOORS, ....... 145 
MATERIALS FOR REMODELING AND REDECORATING, 150 
SPECIFICATIONS FOR ILLUSTRATIONS, ....:.... 157 


THE IMPORTANCE OF WORKING SPECIFICATIONS, 189 


LIST OF SPECIFICATIONS 


House Exterior. 


CHAPTER XXI 


Shingles. 

Porch Ceiling — Varnish Finish. - 

Exterior Doors of Oak or other open-grain wood. 

Exterior Doors of Birch or other close-grain wood. 

Metal (Gutters, etc.). 

Metal Tiling. 

Cement, Concrete, and Stucco Finish. 

Cement, Concrete Floor Finish. 

Stained Exterior Finish on any wood. 

Porch Floors. 

Interior Mission Finish on any wood. 

Wax Finish on any wood. 

Velvet Finish on any wood. 

Woodwork — Natural Finish on Oak or other open-grain wood. 
Woodwork — Natural Finish on Birch, Pine, or other close-grain wood. 
Woodwork — Stained Finish on Oak or other open-grain wood. 
Woodwork — Stained Finish on Birch, Pine, or other close-grain wood. 
Mahogany Finish on Birch or other close-grain wood. 

Mahogany on Mahogany. 

White Enamel Finish on any wood (High Gloss). 

White Enamel Finish on any wood (Enameloid). 

White Enamel Finish on any wood (Rubbed Finish). 

White Enamel Finish on any wood (Dull Finish). 

White Enamel Finish on Cement or Plaster (High Gloss). 

Natural Finish for Floors of Oak or other open-grain wood. 

Natural Finish for Floors of Hard Pine or other close-grain wood. 
Stained and Waxed Finish on Floors of Pine or other close-grain wood. 
Stained and Waxed Finish on Floors of Oak or other open-grain wood. 
Stained and Varnish Finish for Floors of Oak or other open-grain wood. 
Stained and Varnish Finish for Floors of Hard Pine or other close-grain wood. 
Staining and Varnishing Floors at one operation (New Floors, Oak). 
Staining and Varnishing Floors at one operation (New Floors, Pine). 
Staining and Varnishing Floors at one operation (Old Floors previously finished). 
Painted Finish on New and Old Floors, not previously painted (Interior). 
Painted Finish on Old Floors, previously painted (Interior). 

For unsightly cracks and seams in floors. 

Flat-tone Finish on Rough or Smooth Plastered Walls. 

Flat-tone System Finish on Rough or Smooth Plastered Walls. 

Decotint Finish for Ceiling and Walls. 

Staining and Varnishing at one operation. (Old Woodwork and Furniture previously finished.) 
Brighten-Up Enamel for woodwork or furniture. 

Brighten-Up Bath Enamel. 

Stain and Varnish Remover (Taxite). 

Enamelastic Finish (Exterior). 

Handcraft System Effect on open-grain wood only. 

High Gloss Finish for Kitchen, Bath, and Lavatory Walls. 


PLATE 


PLATE 


PLATE 


PLATE 


BUA LE 


PAE 


Piao 


BEA GE 
PLATE 
PEATE 
PLATE 


PLATE 


LIST OF COLORSIELUS DRATIONS 


A — These Detached Houses, with More or Less Ground Surround- 


ing Them, Provide a Wider Field for the Architect, Frontispiece 


OPpposITE 
PAGE 


B — No Architectural Detail of the Interior is of More Individual 
Importance than the Chimneypiece or Mantel,. . . . . . 


C — The Richly Colored Stain and Dull Finish Given the Wainscot 


and Standing Woodwork): €tc,50 ) 3) a.) yee 


D — Beautiful Color in Flat-tone Effects may be Procured in Tones 
and Shades Conforming to Any Conditions,. . .... . 


FE — Hand-woven Rag Rugs in Colors Harmonizing with the General 


Schemes are Used in the Various Chambers, ..... . 


F — The Thatched Roof Must Give Way to the Shingle Roof for 


Sanitary and: @thersReasons; 2) 0): ae 


G—Commodious Fireplaces with Heavy Andirons and Beamed 
Ceilings sys) Coie. | sak 4 ee 


H— IvoryyEnamel Used with) Mahogany, citar.) eee 
I — Stencil Decoration Gives Individuality to the Room, 
J — Oak Lends Itself Admirably to Handcraft Effects,. . . . . 


K — Equally Attractive Results Can be Obtained on Rough or 
Smooth ‘Plaster. "40s wo Ge eee oe 


L_— The Wall-paper Can Easily be Removed and Flat-tone eit 
Effects sed’ int Redetorating, a) 2) ee 


25 


a3 


53 


67 


73 
83 
117 
129 


I4I 


CHAPTER I 


GENERAL SUGGESTIONS FOR THE TREATMENT OF 
THE EXTERIOR OF HOUSES 


FIRST, RELATION OF SITE AND STYLE 


‘ik selection of the site for the erection of a building is of 
much importance in determining the style of architecture 
to be employed. We will, therefore, in these pages, consider, 
first, the relation of style to site. 

Where one has preconceived ideas of the house he will build, 
it would be well for him to seek a site which will make a suitable 
and harmonious setting for the type he favors. 

If he leans toward the ‘Tudor style of English country house, 
the composed and dignified Georgian Manor, or our own stately 
Colonial, he might choose for his site a broad plain by a river, or 
let his house crown graciously some gentle slope, its quiet beauty 
enhanced by spreading trees and sweeps of well-kept lawn. 

Again, he may select a rugged hillside as best fitting the irregular 
sky line, turreted towers, and strong rough-hewn walls of the Feudal — 
type which embodies his ideal. ‘The suitability of such archi- 
tectural designs to such settings is unquestionable and many old- 
world examples rise readily — even to the layman’s mind — to 
verify it, and yet he may also recall an occasional adaptation of 
either the one style or the other to the opposite site which will serve 
to confuse him and should make plain to him the necessity of 
leaving the work of planning in the hands of his architect, in fair- 
ness to whom he should completely lay bare his mind and through 
whom, he will find, lies his way to the truest realization of his ideal, 
providing the realization be practically possible. 

The mode of life to be pursued by the occupants of the new 
house, their individual interests, and all such detailed information 
as he may need should be fully supplied. With such data in hand, 
the house may be made characteristic of its owners as well as archi- 
tecturally correct. 

In the confines of the greater cities, special planning is required, 
and much must be conceded to the lack of open spaces to surround 


bald 


YOUR HOME ANDATISADECORATIOCH 
a 
the building. This is particularly true where the house will form 
one of a block. 

It should be borne in mind, however, that the exposure or, 
technically speaking, the aspect of the city house is important to 
the comfort and even the health of its occupants, as such placing as 
will afford protection from wintry blasts and more complete comfort 
during the heated term may thus be insured. 

The clever architect of to-day is introducing individuality and 
a certain dignified beauty in the new and reconstructed city house, 
which, until the last decade, was almost unattempted in the monoto- 
nous rows of brown stone and red brick homes, which were distin- 
guished, one from the other, only by the numerals over the door. 
Latterly, from many of the best residential streets of New York, 
this type is disappearing. The English basement entrance, with 
the foyer hall from which wide stairs lead to the living rooms on 
the first floor, is now a favored style and one which is conducive to 
convenience and much comfort in living. Also there is a consid- 
erable recurrence to French architecture in these houses. The 
small-paned long windows, with the flower-boxed iron balustrades 
which they show, are attractive. In both types of houses much 
of red-brick facing and white trim appears. 

The frame house on the city lot, of which the cost of construction 
does not exceed $5,000 and 1s often less than $3,000, has in past 
years followed certain stereotyped lines in plan and exterior which 
make neither for comfort nor beauty. The only variety exhibited in 
such houses is in the color combination shown in the exterior treat- 
ment, strong and vivid contrasts of inharmonious shades unfortu- 
nately prevailing, or where a little more money is to be invested in 
the building an extinguisher type of cupola or tower is added at 
one end of the mansard roof and unsupported box-like bay windows 
break out in incongruous places. 

In the less-congested cities, these detached or semi-detached 
houses, with more or less ground surrounding them, provide a 
wider field to the architect and his client in determining the style of 
house he will build. This decision should be governed by the 
individual location and the types of the neighboring houses. Where 
the lots are small and the houses close, careful placing and spacing 
of the windows is essential, avoiding too complete cognizance of 
domestic arrangements in adjoining houses. 

During the last few years, by a gradual process of elimi- 


pez 


SUGGESTIONS FOR THE TREATMENT OF EXTERIORS 


nation and adaptation, a style of architecture has been evolved 
which is distinctly of this present period and is also American. 


Plate I. Good Types of Detached Houses 


‘The small house which is honestly and sincerely good 1s a 
development of which this generation of architects may well be 
proud. Many countries have been drawn upon for suggestions, but 
the adaptation of these to the needs of the American householder 
shows a cleverness which amounts to art. 


MATERIALS FOR THE EXTERIOR FINISH OF THE HOUSE 


While it may be 

generally acknowl- | 
edged that the style 
or design employed 
in many instances 
hx the materials 
which shall pre- 
dominate in the 
exterior or shell of 
the house, yet this 
selection is affected 
also by other facts. 
For instance, cer- , 
tain localities seem Plate II. Good Types of Detached Houses 


a3] 


YOUR HOME AND ITS DECORATION 


Iollgxq pasaiys 


24} YUM VnoP sWIeIA IVT, 


“TIT 93% 1d 


SUGGESTIONS FOR THE TREATMENT OF EXTERIORS 


almost to demand certain materials. In mountainous or rough 
countries, where boulders and field-stone are plentiful, no more 
suitable constructive material for a portion or the whole of the body 
of the house could 
be found. 

How entirely in- 
congruous would a 
brick house appear 
in such a locality! 
The reverse is also 
the case, were aoe ow a —_<eeee - 
the boulder or ait TE PEPE. ma) 1 ei hee 
held-stone house Ee Ey : ye ee 
set upon a city lot. | 

The frame house, 
with the exterior 
walls of clapboard 
or shingles, is adapt- 
able to almost any 
situation, given, of 
course, a fitting design for the site. With either of these, an 
exposed foundation of brick or stone is correct, though sometimes 
dificult to harmonize with the desired color scheme of the 
exterior, thus, it be- 
comes frequently 
desirable to mask 
this foundation 
work by extending 
the wood finish on 
the outside of the 
brick or stone to 
within a few inches 
of the grade line, 
battering from the 
ground by a gentle 
sweep for its lower 
twelve or eighteen 
inches. ‘This gives 
the same effect of 


Plate IV. A Fitting Design for the Site 


Plate V. Mask the Foundation Work by Extending the Wood Finish ae , 
to within a Few Inches of the Grade Line solidity that 1s seen 


[5] 


YOUR HOME AND ITS DECORATION 


in the trunks’ of 
forest trees, the 
house seeming to 
rise out of the 
lawn’ ~as a’ “com- 
pleted whole and 
not as if placed 
on the site in sec- 
tions, one upon the 
other. 

Solid concrete, 
as well taswethe 
stucco finish on a 
wooden’ frame, 
lend themselves 
successfully to 


Plate VI. Solid Concrete and Stucco Lend Themselves Successfully 
to Particular Styles of Architectural Work 


particular styles of architectural work. As a rule, it may be 
stated that buildings simple in form and rather massive in design 


Plate VII. A Suggestion of Spanish Architecture 


[ 6 ] 


SUGGESTIONS FOR THE TREATMENT OF EXTERIORS 


and detail are best suited to the employment of a stucco finish or 
construction in solid concrete. Of this type many Spanish and 
Moorish examples might be cited, one of which is selected for 
reproduction here. On the other hand, /talian Villas and French 
country houses are built from these materials, and in design are 
at once graceful and full of beauty of a refined character. ‘To the 
so-called ‘‘ Mission Style’? evolved in the far West by the adap- 
tation to residential requirements of some of the more characteristic 
forms and details of the Old Mission Churches — planned and 
built by the Spanish Fathers — these materials are most eminently 
fitted. 

The stone or brick house may, with propriety, have either a slate, 
tile, metal, or even a shingled roof, according to its style or design. 


tore? Sree 


Plate VIII. Adapted Italian Villa 


A frame house should have a roof of shingles or slate, while one of 
stucco finish, or a concrete house, should preferably be roofed with 
tile in complete harmony with the design of the house. ‘The primary 
purpose of the exterior finishing materials is for protection, but they 


ee 


YOUR HOME AND ITS DECORATION 


are more or less subject to the action of the elements and must, 
therefore, be protected from such action in every possible way. 
Materials are made for the special treatment of all exterior work. 
Special paints for all metal work, such as gutters and down spouts, 
flashings, etc. 

The floors of porches require a paint of one character while the 
ceilings of porches demand a finish of a very different nature, but 
both must withstand the weather conditions. Shingles should be 
dipped, before laying, in a stain of great penetrating power, and 
afterward a brush coat of the same material should be applied. 
While all exterior wood finish, such as window frames, cornice 
work, etc., require most careful attention, it should be stained or 
painted with the best materials, so as to afford adequate protection 
and at the same time accentuate the architectural beauty of the 
house, therefore proper surface conditions for such work is essential. 
Special finishes are made for the stucco and cement work, which, 
while covering and fully protecting, does not fill and destroy the 
artistic texture of the rough cement, the projecting particles of which 
cast tiny shadows which render such surfaces so soft in tone and 
quality when properly treated. Further details of this subject are 
given in Chapter XV. 


EXTERIOR COLOR FOR HOUSES 


‘The selection of finish for the exterior of the house must neces- 

sarily be influenced 

" 

by the architectural 
form of the building, 
the structural mate- 
rials from which 
ithis burlt; and fits 
environment and 
setting. 

Many of the 
modern small houses 
are built of cement 
or: stucco; ne 
lovely natural gray 
color this shows is 
sometimes _ perfect, 


Plate IX. Many of the Modern Small Houses are Built R I 
of Cement or Stucco and with it the 


[8 ] 


SUGGESTIONS FOR THE TREATMENT OF EXTERIORS 


wood trim of the half-timbered English effect, which is often 
used, should be stained in dim weathered gray, brown, or moss- 
green tones, such as might be naturally induced by time or 


Plate X. Common Materials Have Been Most Effectually Used 


exposure to weather conditions. Other colors may be given the 
cement by the application of the special paint referred to above. 
The soft tan color, which is almost café au lait, is a particularly 
agreeable color for such walls. ‘This is the shade shown in the old 
Spanish churches built in California from the great adobe bricks, 
and originally coated with white, which the mellowing effect of 
time and weather has wrought to the soft beautiful tan. 

‘The combination of stained shingle and painted siding is a very 
usual one in the vernacular small house. ‘The paint for the trim 1s 
frequently light in color and should never be applied to the corner 
boards, if these are used in the design, as it serves but to outline 
and emphasize the dimensions of the house, and has a decided 
tendency to make it appear smaller than it really is. 

Where stain and paint are to be used, good color combinations 
are made with two shades of brown for the shingle and siding, the 
shingled upper portion of the body of the house showing the darkest 


[9] 


YOUR HOME AND ITS DECORATION 


tone, the shingles of the roof to be stained moss green, and the trim ~ 
of ivory white completes a harmonious exterior; or dark green for 
the body of the house, shingles, and siding, gray or brown stain for 
the roof, again using the ivory trim. A rich, dark red for the walls, 
dark moss-green for the roof stain, with dark green trim, is a good 
combination where the foundation of the house is of gray stone or 
brick,and the same general tone is repeated in the color of the porch 
floor. 

These suggested combinations of color will be found suitable 
to the bungalow and shore cottage also. 

Where a light color is made necessary by the architectural style 
of the house, or to enhance its apparent size, colonial yellow, light 
or ash gray, pure or ivory white, are all acceptable selections. ‘This 
treatment is chiefly desirable where a house has a setting of green 
trees and well-kept lawn. 

Where the outside shutters are a feature of the house, as they 
often are, these should be painted a clean, rich green, like the leaves 
of the trees, or if the house be colonial yellow or light gray, the 
shutters may properly be of white like the trim. 

Complete color specifications for each plate will be found in 


Chapter XX. 


Plate XI. Where Boulders and Field Stone are Plentiful 


CHAPTER II 


DOORWAYS 


HERE is no single feature of the house which so impresses 

the passer-by or casual visitor as its entrance or front door. 

A lack of hospitality is felt where a narrow, skimpy door, 
opening like a slit in the wall, seems to frown forbiddingly on the 
guest. Lhe effect on one’s mental attitude produced by such first 
impression contrasted with that resulting from a broad, inviting 
doorway is readily realized. One feels the conditions rendering 
necessary the first illustration cited must have resulted from careless 
planning, or an utter lack of correct feeling in designing. 

The position of the entrance 
door in relation to the porch, or 
veranda, should be direct and 
logical. A circuitous route to 
reach it is always a mistake. 
Its character and purpose should 
be so pronounced that it might 
never be confused with doors of 
lesser importance opening on the 
same porch. 

Putting aside the function 
which the front door fills, other 
than its most manifest one of 
being the threshold or entrance- 
way into the home, we find it 
affected and modified in num- 
berless ways, made necessary by 
the conditions arising from the 
design aah a a et oF he Plate XII. etic eae as Should 
house, or by the floor plan. 

As the entrance to the inner circle of the home, it should possess 
dignity of design, refinement of detail, and simplicity of treatment. 
No useless ornamentation should embellish it, yet its construction 
may be very properly ornamented by details in harmony with the 
house design. 


Gag 


YOUR HOME AND ITS DECORATION 


aoueljUuy Sj se Aq-i1asseg oq3 sassoid uy OS YIGA Inox 2q} jo 


91Nj{eoy 


a[sulg ON SI a10q,J, 


TITX 33? 1d 


DOORWAYS 


The design of the house should fix the style of the entranceway. 
Thus, for the house of Colonial type, or what is so called in America, 


Plate XIV. The Design of the House Should Fix 
the Style of the Doorway 


the doorway might properly 
be flanked by side lights, and 
have a fan  transom,— the 
whole being painted white; 
or the door itself may be of 
the mahogany finish and all of 
the frame and_ surrounding 
trim be white. 

‘These are matters of taste 
which should be discussed 
with the architect, if the 
owner has decided prefer- 
ences. Should the house take 
on the form and design of the 
Elizabethan or late Tudor 
period, or if Gothic feeling 
should be evidenced in the 
design, then the doorway and 
all the surrounding woodwork 


should show the natural grain of the wood, and be stained to 
reproduce those beautiful effects in color which the elements and 


long years of exposure will other- 
wise be required to produce. 

In vernacular types of houses 
there exists a wide range of sug- 
gestion for the doorway, and no 
set rule may be formulated. Suf- 
fice it, that the architect will 
usually suggest the appropriate 
design, taking all affecting con- 
ditions into consideration. 

A single door may be used, 
or it may be a double one; it 
may have one panel or many, 
either of wood or of glass. It 
may be flanked with side lights 
as the circumstances or condi- 
tions seem to indicate. It may 


Plate XV. The Architect Will Usually Suggest 
the Appropriate Design 


[ 13 ] 


YOUR HOME AND ITS DECORATION 


be of fine wood showing the natural grain, or it may be of inex- 
pensive wood carefully painted. 

Should the hall into which the door opens be finished in natural 
wood, as is often the case, the inside of the door may show the same 
wood, either solid or veneered, at the same time showing on the 
outside a painted surface, or a natural finish of entirely different 
wood from the interior. 

A common fault with front doors, and one which detracts largely 
from the finished effect, is a lack of sufficient thickness. Under 
no circumstances should the thick- 
ness be less than two inches, and 
from that up to four inches, from 
two and one-half to three inches 
being in most instances  satisfac- 
tory. As the exterior of the door 
is subjected to all of the changing 
weather conditions, while the 
inside is mostly of a_ strongly 
contrasting temperature (at least 
during the winter season), it Is 
important that it be substantially 
built. 

A core built up of narrow strips 
of well-sawed wood, with alternat- 
ing direction of grain, upon which = | 
the finishing wood is veneered, Plate XVI. Or It May Be of Inexpensive 
makes a good door, which will with- bhpembacesi seis 
stand the weather, and, if treated with the proper protecting paint 
or varnish, may be considered indestructible, as far, at least, as 
weather conditions are concerned. 

It is not the purpose of this book to enter into discussion of the 
merits of the several styles of architectural design best suited to 
the needs of the present day, nor to advise the selection of any 
particular pattern of front door as being the one thing suitable in 
a specified place. ‘There are so many points which must be deter- 
mined by the demands of existing conditions,—the site of the 
house and its environment, etc., will largely fix the design, and 
the design, in turn, will indicate the detail of the front door or 
entrance to the house. 

In addition to this, the individual taste of the owner forms an 


[araet 


DOORWAYS 


important factor in the final decision. ‘These several conditions, 
often widely conflicting, impose upon the architect the necessity 
of compromise. 

The greatest care, however, should be exercised in the selection 
of finishing materials employed on the exterior of the house. 

‘The owner has nearly always some preconceived idea of the 
color effects he desires the building to show. ‘The foundation, 
body color, trim, and shingles should be tried together, if one holds 
any doubts of the harmonious combination of the colors deter- 
mined upon. It is possible to get panels or shingles painted and 
stained in the required shades. ‘This matter of materials for the 
exterior of the house will be fully discussed in later chapters. 


[15 ] 


CHAPTER 


GENERAL SUGGESTIONS FOR THE INTERIOR 


HE pleasure of planning and building is vouchsafed (com- 

paratively speaking) to the fortunate few. Many of us 

must adjust ourselves to environments designed for other 
people, and set up our household gods within walls at variance 
with our ideals, yet every householder can control, to some extent, 
the finish, decorations, and furnishings of the rooms wherein he 
dwells, and make them speak of his individuality rather than that 
of the earlier occupant. ‘The old saying, that ““He who knows a 
man’s home knows also his heart,’ shows that even as long ago 
as the sixteenth century the home must have been characteristic 
of the man. 

Much can be accomplished by refinishing woodwork, doing 
over the walls, and adjusting and arranging furniture. ‘There are 
also certain objectionable features in the architectural detail of 
some rooms which can be eliminated. Grills can be removed 
from doorways and windows; ornate over-mantels can frequently 
be lifted bodily from their places, leaving a mantel shelf which 
will be found quite unobtrusive and useful. However, these con- 
cessions, which must be faced by the majority of people, for a part 
of their lives at least, will be dealt with at length 1 in a later chapter. 

Where the home is to be built, after site and style have been 
determined, a general plan of decoration for the interior should be 
evolved. 

In the early days of the architect’s preliminary sketches, after 
the kind of wood to be used for the interior has been selected, the 
treatment for the woodwork, floors, and side walls of the various 
rooms of the house should be decided. With this settled, the color 
motif for the entire scheme can be reached. 

Most women have some preconceived ideas in regard to the 
kind of woodwork and decorations they desire in some, at least, 
of their rooms. One may favor a dining-room with a high paneled 
wainscot of dark wood, leading directly from a little drawing-room 
or parlor 1 in which white woodwork plays an important part; for 
the remaining rooms of the house, “anything that looks well and 


[ 16 ] 


GENERAL SUGGESTIONS FOR THE INTERIOR 


will not be difficult to keep free from dust.’’ From such ideas chaos 
sometimes results. 

Frequently, upon the architect falls the necessity of dissuading 
or adjusting, as the case may be. If the interior of the house is 
designed along severely simple lines, he will show his client the 

advantage of stain and soft dull finish for the woodwork, and plain 
or two-toned walls with stenciled frieze of appropriate design as 
being the only right way to treat this to preserve the harmony of 
the whole, and to provide a suitable setting for the sturdily built 
furniture which should be used in a house of this type. 

When the house is of less pronounced style of architecture, a 
wider choice is allowed. ‘The dining-room paneled in dark wood 
is permissible where the hall is finished in mahogany stain, and 
the parlor opening off the hall may have the desired white enamel 
for the finish of its woodwork, or the doors leading into the hall 
and the hand-rail of the banister may be treated with the mahogany 


Plate XVII. This Treatment Provides an Excellent Setting for Mahogany Furniture 


[er7i] 


YOUR HOME AND ITS DECORATION 


stain, while the other woodwork shows the same white enamel as 
the parlor. In the library, on the opposite side of the hall, the 
mahogany stain may be used throughout. ‘This treatment for 
the standing woodwork is particularly suited to houses built on 
modified Colonial lines, and provides an excellent setting for ma- 
hogany furniture. 

In such an arrangement there is no jar or discord, as its unity 
is preserved. ‘The selection and treatment of the woodwork of 
such rooms will be considered in the following chapter. Where 
the house is a very small one, and the cottage feeling is to be made 
evident, all the standing woodwork may be treated with an ivory- 
white enamel with good effect. 

The advance in the art of planning the floor space for the house 
of moderate cost, which has developed largely in the last decade 
or two, usually allows the several living rooms to be thrown together 


Plate XVIII. The Standing Woodwork and Walls of Adjoining Rooms Must Show 
No Crude Contrasts 


[ 18 ] 


IXX saideyo ‘suonvoytoods 225 
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€# ALVId 


“ 


GENERAL SUGGESTIONS FOR THE INTERIOR 


and thus bear intimate relation one to the other. Hence, the color 
scheme for the whole must be considered together. 

A rule which should always be followed in all types of houses is 
—the standing woodwork and walls of adjoining rooms must show 
no crude contrast, but harmonize well. An excellent plan is to 
select varying shades of the same color for the standing woodwork 
of the different rooms. For instance, the darkest brown stain may 
be used in the hall, if well lighted, and in the most spacious of the 
apartments, working gradually into lighter nut or gray-brown, 
or even silver gray is found harmonious. With the many excellent 
stains and special stain reducers now provided, these harmonious 
effects can be easily obtained. 

For the wall treatment and draperies throughout (which must 
be considered together), a repetition of one or more of the colors 
in various combinations will be found restful and attractive. 

The ceiling color is also an important consideration, as this 
must show a tone, while lighter in shade than either walls or wood- 
work, entirely harmonious with both. ‘The ceiling color may 
sometimes be effectively repeated in the tiles about the fireplace, 
or in the diaphanous curtains which are hung next the glass of the 
windows. Flat finishes and matt-glaze effects on walls and ceilings 
adjust themselves more readily to existing conditions than any 
other materials. ‘They can be obtained in shades and tones to 
match woodwork and furniture stains, fabrics, and rugs. 

No architectural detail of the interior is of more individual 
importance than the chimneypiece or mantel. Its proportions 
should be as generous as the size of the room allows, and the design 
suited to its setting, thus adding a feature not only homelike and 
inviting but dignified and decorative. ‘The position the fireplace 
holds in the room should also be well considered. Where possible, 
it should face either the most important opening to the room or 
its best vista. 

Given a mantel of distorted or over-elaborate design set in 
highly glazed tile, mottled like castile soap, a room, good in other 
respects, is conspicuously spoiled. Where an architect is employed, 
the designing of the chimneypiece, suited to the several rooms of 
the house, would naturally be left in his hands, but it is often the 
case that plans are worked over by builders or carpenters, and 
changes made to suit the requirements and ideas of the owner 
without the aid of the architect. 


[ 19 ] 


YOUR HOME AND ITS DECORATION 


Plate XIX. No Architectural Detail is of More Individual Importance than the Chimney- 

piece or Mantel 

It is to such cases that mantels which can be purchased ready 
to set in place are adaptable. Among these are the all-faience 
mantels, or those with a shelf of wood like the standing woodwork 
of the room. ‘The tiles which form hearth and facing are beautiful 
in color and dull in finish. ‘These may be used in plain color, or 
friezes showing designs appropriate to the other decorations of the 
room may be selected. Particularly decorative effects are shown 
when the design of the tile is repeated in the stencil about the upper 
wall of the room. 

Such mantels will be found suitable to rooms where dark-paneled 
wainscoting is used, or many of them fit perfectly into the scheme 
of decoration appropriate to houses designed along the so-called 
Mission lines. All-brick mantels, quaint in form and of good pro- | 
portions with spacious openings, are made from dull red, tan, and gray 
brick in various shades. ‘These look well in rooms patterned after 
the old New England type, or the bungalow or simple country house. 


[ 20 ] 


GENERAL SUGGESTIONS FOR THE INTERIOR 

In mantels of wood a wide choice is offered. ‘Those of good 
lines and simple ornamentation are acceptable in rooms where 
white paint or enamel is the finish to be used on the woodwork, 
though the architectural detail of the room may suggest no par- 
ticular period. ‘These mantels may be obtained treated with a 
priming coat only, or when two or more coats of flat white have 
been given them, the final finish to be added matching the color 
or tone of the paint used in the room. Mantels after this style 
are a safe selection to make for the chambers of the home where 
the standing woodwork of the room is to be painted. ‘The tiles 
used about the fireplace should reproduce some color in the wall- 
paper or the ceiling tint. 

The selection of lighting fixtures and hardware should next be 
considered. Here, too, the finished effect of the completed house 
must be kept in mind. Fortunately, it is possible to-day, even in 
purchasing stock fixtures, to avoid the regulation and wholly unat- 
tractive combination of gas and electric burners with which the 
_ house of moderate cost has for some years been afflicted. 

In rooms where a central fixture seems essential, this should 
be straight electric, the sidelights showing the combination. We 
are, however, in house decoration, departing largely from the old 
idea of central fixture, and, except in dining-rooms, it is not regarded 
as necessary. In fact, in a long living-room, much better effects 
are obtained by the use of ceiling lights at either end of the room. 
These, in combination with the sidelights and plugs placed in the 
floor by which table lights — candelabra or lamp — may be used, 
make a much more attractive effect than the conventional treat- 
ment. As so much of the family life is spent by artificial light, 
one feels well repaid for any amount of trouble taken to insure 
their proper placing. A diagram of the room showing the various 
pieces of furniture as they will be placed will be found a great 
assistance in arranging the lighting. If a wide window-seat or 
davenport is to be the feature of the room, a light should be placed 
somewhere in its vicinity, to make it available for reading. Side- 
lights should be placed in regard to book shelves or bookcases so 
that the light will fall upon the titles of the books, for convenience 
sake. 

The table light is an essential feature, both from the viewpoint 
of convenience and decorative effect. If but one light is used, a 
lamp of goodly proportions and spreading shade should be selected 


[21 ] 


DECORATION 


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w 
La] 
Q 
z 
hin 
<a) 
= 
S 
ce 
Re 
) 
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~ 


GENERAL SUGGESTIONS FOR THE INTERIOR 


to hold it. If a room is suggestive of the Colonial, the idea should 
be accentuated in the fixtures. ‘The selection of fixtures of this 
character is extensive, and some really beautiful designs are obtain- 
able at reasonable prices. All bulbs should be frosted, and where 
there are a number of lights to be used in the room, eight candle- 
power bulbs are preferable to those of sixteen candle power, as 
the light is softer and better diffused. 

A single central light may be selected for a hall; where the 
rooms throw well together, this will be found all that is necessary. 
Where the Craftsman idea is dominant, a lantern, the frame of 
which is made from beaten copper or wrought iron, enclosing dull 
amber or frosted glass and hung by a chain, is a good choice. Some 
reproductions of the hanging parafhne lamps of Colonial days may 
be found appropriate for the house in which mahogany and white 
enamel are used for the finish of the standing woodwork. 

For the drawing-room, sidelights are advised. ‘These may be 
found in sconce designs. Electric bulbs shaped like candles look 
well in these, and, with the addition of small silken screen shades, 
may be rendered very attractive. A room of this character should 
be formally treated in all respects, as it is distinctly the withdrawing- 
room, and not the living-room of the family. 

For simple bedrooms, inexpensive sidelights,—a drop light 
near the head of the bed and others placed over the dressing-table 
and desk will be found adequate. ‘These may be brought into 
the general scheme of the room by the introduction of silk shades 
of suitable color. 

While we are all more or less familiar with some of the guises 
under which the brass fixtures appear, such as polished, dull, or 
brushed, and the old smoked brass, there are many varieties of 
treatment producing results in which the brass is quite unrecogniz- 
able, and which are artistic and interesting. Among these is the 
wrought-iron finish which is so well suited to many rooms of to-day’s 
designing. ‘lhis effect is obtainable on any metal fixtures. 

The hardware used in the room should always bear relation- 
ship to the fixtures, and be of the same material and show similar 
decoration where such appears. ‘The lines of hardware offered 
by the best makers are so complete that there is no difficulty in 
finding precisely the style that would best fulfill the requirements 
of every room. In selection of both fixtures and hardware for 
houses such as we are describing, where no period idea is dominant, 


Veet 


YOUR HOME AND ITS DECORATION 


designs which are of good lines but simple, unobtrusive, and in 
complete harmony with the general scheme should be chosen. 
In the perfectly schemed room no single detail of its fitting should 
be more obtrusive than another; each feature must complement 
the other so entirely that, as a whole, it pleases. 

The dominant color used in a room, and the contrasting and 
combined effects of other shades employed, are not to be reckoned 
with lightly. Where contrast is used — and this 1s often a desirable 
point in arrangement of color — it should be agreeable and inter- 
esting; one tone should melt softly into another, the completed 
color scheme holding the eye as would a beautiful picture. 


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‘d39 “YIOMpoo AA SuIpueIg pue JoIsUTeA\ 94 WAATH YsruTy [ING pur urerig pasopoy ATYINY PL, 


O ALVWId 


CHAPTER IV 


THE IMPORTANCE OF THE STANDING WOODWORK 


N the early days of planning a house there are several points 
which must be taken into consideration to insure an harmonious 
finished interior. 

Either the architect must be wholly acquainted with any color 
scheme or plan of decoration or furnishing his client may hold, or 
the matter must be left entirely to his good taste and judgment. 
In either case, the importance of selection of tone and finish for 
the woodwork, wall treatment, and the choice of tiles and hardware 
must be settled in advance, and if more than one person’s ideas 
are to be embodied there must be a perfect understanding among 
them. 

While the color and style of treatment for the walls is very 
important, the kind of wood employed for the standing woodwork 
and floors is equally so. ‘This decision should be affected by 
the type of architecture the house presents, by the character of 
the room to be considered, and by any decorative scheme of fitting 
and furnishing which may be pursued. 

‘The wholly agreeable and harmonious treatment of the entrance 
hall shown in the color illustration is a good example. Here the 
richly colored stain and dull finish given the wainscot and standing 
woodwork of the room contrast delightfully with the vivid strong 
shades of orange, brown, and green used in the wall treatment. 
‘The furniture is also a component part of the picture. ‘The 
fixtures and hardware employed are entirely suited to their environ- 
ment. 

A careful study of Chapter XVI, which fully explains the various 
woods, and the finishes best suited to each, is urged upon the reader 
who is about to build, as such information acquired in time may 
save him from serious mistakes and many disappointments. 

In deciding upon the stain for the woodwork, the selection should 
show a natural tone, as the architect phrases it; that is, such tone 
as the wood might naturally acquire through long exposure to 
weather conditions, and also the rich, dark color that age induces. 
The various shades of mahogany, from the dark, dull red to the 


[ 25 ] 


YOURVHOME AND ITS DECORATION 


yellow brown, should never be used upon such woods as oak, ash, 
or chestnut; but on birch, pine, or even poplar, such stain 1s very 
suitable—bringing out the grain of the wood attractively. Over 


Plate XXI. The Very Simple Dining-room of a Country House 


oak, ash, and chestnut a great variety of shades of brown or 
dark moss-green and weathered or silver gray are especially 
effective. 

Where one has the advantage of the advice of a good architect, 
all questions pertaining to the selection of wood and finish may be 
readily adjusted. If, however, the work is being done under the 
supervision of the owner, he must possess himself of certain definite 
information before going into the matter seriously. 

It should always be borne in mind that while the same color 
may be shown on different woods, this must be obtained by using 
different stains in which the chemical properties are suited to the 
condition of sap, etc., of the woods, which will combine to insure 
the desired color. Stains suited to all character of woods are made, 
and where complete information in regard to the kind of wood to 


[ 26 ] 


THE IMPORTANCE OF THE STANDING WOODWORK 


Plate XXII. Staircase of Gothic Suggestion 


YOUR HOME AND ITS DECORATION 


be used is supplied, specifications and material for successful treat- 
ment, and sample panels can be obtained. It is not enough to 
selection ly the 
shade of stain. The 
number of varnish 
coats and the qual- 
ity of the varnish 
itself must be 
selected. Definite 
specifications will 
eliminate all chance 
of misunderstand- 
ing between owner 
and contractor, and 
give assurance of 
durable and satis- 

2 : factory results. 

Plate XXIII. The Built-in Buffet is a Particularly Decorative In the hall, as 

Feature of this Room shown in Plate 
XXII, the standing woodwork, wainscot, beamed ceiling, and staircase 
of Gothic suggestion, supply the full decorative effect. “The wood 
used here is oak, and has been treated to a brown stain which 
is very gray—in the high lights—the finish is dull. 

It has been the part of wisdom here to eliminate entirely figured 
effects for walls or draperies. 

In many types of houses the wainscot and beamed ceilings 
seem an essential part of the interior architectural detail. For 
such rooms as entrance hall, dining-room, and library this treat- 
ment is especially well suited, and where the dimensions of the 
room permit it Wainscot or ee of paneled wood may be safely 
introduced in the living-room of the house. 

In the very simple dining-room of a country house shown in 
Plate XXI, the cypress woodwork has been treated with a silver- 
gray stain; the plain walls, painted in flat tone, a shade of sage 
green harmonizing well with the woodwork. Over the buffet the 
stained-glass windows repeat the shades of gray and green, and 
introduce mulberry and yellow with some blue effectively. ‘The 
floor in this room, for summer use, is entirely without covering, and 
has been finished with Mar-not, this floor finish supplying the 
satisfactory polish which the floor shows. ‘The shelf which extends 


[ 28 ] 


THE IMPORTANCE OF THE STANDING WOODWORK 


about the room is set over the top of doors and windows, and adds 
a quaint touch to the architectural effect of the room. The mahog- 
any furniture used here is effective. If, however, furniture of 
simple, though delicate lines were substituted, treated with an 
enamel in silver-gray tone, the effect would be even more harmonious. 

In Plate XXIII a second dining-room is shown; this is in a very 
handsome house, designed along Georgian lines. The built-in 
buffet is a particularly decorative feature of this room. ‘The 
beautiful Aubusson tapestry rug in pastel green, oyster white, dull 
old rose, and some blue, supplies the color for the room.. ‘The 
specially designed enameled chairs are notable features, and show 
well with the old mahogany table. The woodwork of this room 
is finished with fine white enamel, showing a slight gloss, contrast- 
ing well with the flat finish of the plastered panels. 

In the living-room shown in Plate XXIV, the ash paneling of the 
wall extends to the ceiling line. ‘The cross-beamed ceiling 1s also 
of ash. This has been treated with a weathered-oak stain, and 
given a perfectly flat fnish. ‘The architectural detail of this room, 


Plate XXIV. The Architectural Detail of this Room is Well Suited to a Room of Such Proportions 


[ 29 ] 


YOUR HOME AND ITS DECORATION 


Plate XXV. The Bedroom in the All-the-year-round Home of a Single Woman in a Small Town 


as evidenced in the paneling, the beaming of the ceiling, the mantel 
shelf, and simple grouping of the windows, is well suited to a room 
of such proportions. Furnished as it 1s with simply heavy pieces, 
and supplied with richly colored rugs of the Khiva-Bokhara variety 
—in tones of rich mulberry and dull green—the room is harmoni- 
ous and dignified. Such a scheme can be easily carried out in a 
much simpler room. 

In deciding upon the finish for the woodwork, a simple coat of 
stain should never be considered sufficient, since durable effects are 
always desired. ‘The first coat of stain should invariably be followed 
with a binding coat of Mission-lac or varnish. Wax, as a finish for 
floors, woodwork, or furniture, favored in the days of our forefathers, 
is no longer considered desirable, not only from a.hygienic stand- 
point, but from the fact that the constant effort required to keep 
this finish in good condition has rendered its use almost obsolete. 

To-day, the efforts of the manufacturers are directed toward 
supplying to their customers materials which are lasting and 
which, at a minimum cost, give a maximum of results. As we have 


[ 30 ] 


THE IMPORTANCE OF THE STANDING WOODWORK 


said previously in this book, the small house of the man of modest 
means is the house of predominating consideration to-day, and 
to select attractive finishes for this, which are suitable and durable, 
is important to him. 

Velvet finish consists of stain, Mission-lac, and velvet finish. 
This latter is a varnish which produces a dull, velvety effect with- 
out labor of rubbing. Where what is termed a full-varnish finish 
is used, the coat of stain is followed by Mission-lac and three or four 
coats of full-body varnish. ‘The last coat is rubbed to a dull finish, 
if that effect is desired, and it is usually found most attractive. 
Where wood is left unstained it is treated in a similar manner, 
except that the coat of stainis omitted. ‘This is known as the natural 
finish. In Chapter XVI very explicit directions for finishing wood- 
work in these different styles will be found. 

In remodeling the old house, where little or no structural change 
is to be made, the woodwork may be cleaned of its present finish. 
This should be painted in ivory white, soft gray, or some predomi- 
nating tone taken from the wall covering. 

In Plate XXV a quaint and charming bedroom is shown in which 
the ivory ground of wall-paper is repeated in ceiling tint and color 
of woodwork. See 
specifications in 
Chapter XX. 

Plate XXVI 
shows a_ bathroom 
which is extremely 
attractive. For the 
standing woodwork 
in this room enamel 
has been used— 
pure white in tone, 
matching the porce- 
lain of the tub. 
‘The green and white 
tile paper used above : 
the wainscot to the Plate XXVJ. Shows a Bathroom which is Extremely Attractive 
ceiling line has been 
given a coat of clear varnish, rendering it washable and sanitary. 
Complete details and specifications for all of the above-mentioned 


rooms may be found in Chapter XX. 
[ 31 ] 


CHA TAL Rasy 


SIDE WALLS AND CEILINGS 


NE is often impressed with the feeling that there is not 
sufficient thought given to the treatment of side walls and 
ceilings of the various rooms of the house. As these 

divisions of an apartment present the greatest surfaces of light and 
shadow, the dominating color influence of the room should be found 
in them. 

This is not a question to be lightly settled; there are a number 
of equally important controlling influences which must be reckoned 
with in making a decision in regard to the color to be adopted for 
the several rooms of the house, and the medium which will present 
it. Where the rooms open well together, in selecting the color, 


Plate XXVII. A Narrow Line of Plaster Ornamentations Follows the Beams 


az. 


SIDE WALLS AND CEILINGS 


oo 
* 


eth: 
ROOF 
ot seats! 
* a, e etateseateh’, e's y 
Onn 


Plate XXVIII. The Elegant Simplicity of the Chimneypiece is Perfectly Complemented by the 
Pattern and Color of the Wall Paper 


they must be considered as a whole, that perfect harmony or 
pleasing contrast may prevail. These colors must agreeably 
complement the stain or finish of the standing woodwork. For 
the rooms of northern and western exposure, they must be 
warmer in tone than those employed in the southern or south- 
eastern rooms. 

Then, too, the character of the rooms, as evidenced in archi- 
tectural detail and the uses to which the apartments will be put, 
is of equal importance. A wall covering, or stenciled design, found 
wholly suited to the entrance hall of the house might prove quite 
inappropriate for the living or dining-room. ‘This last, however, 
is a question which must be determined individually. There is, 
to-day, a decided tendency toward plain or two-toned effects for 
the side walls of the house, with plain tones for the ceiling. Addi- 
tional interest may be given such walls by the introduction of a 
well-selected stenciled design for the frieze. 

On the interior walls of the modern house the use of flat paints 


[ 33 ] 


YOUR HOME AND ITS DECORATION 


and Flat-tone finishes is gradually increasing. Very beautiful 
colors in flat effects may be procured in tones and shades conform- 


Plate XXIX. Where the Figure in the Paper is Sufficiently Unob- 
trusive, Pictures may be Hung Against It 


ing to any con- 
ditions. The 
advantage of this 
will appear to most 
of us who have 
struggled to obtain 


the desired color 


by having the 
workman mix the 
paint for us, as this 
nearly always 
results in a muddy 
or cloudy effect. 
Using flat tones, it 
is possible to obtain 
a line of samples 
which show the 


many desirable colors and shades in which one may procure it, and 
from which complete color schemes may be worked out. Flat tone 
is also found an excellent medium for ceiling tints, supplying old 
ivory, ecru, pearl gray, and other delicate tones suited to this portion 


of the room. 
Where it is the 
intention to retain 
uncovered walls, the 
sand finished or 
rough plaster is 
equally as satis- 
factoryeaseuhie 
piritenencdiiim atvizejere! 
plaster. Either 
effect may be used 
for ceilings. The 
decision should be 
governed by the 
architectural style 
of the house; for 
instance, in a house 


Plate XXX. The Decorative Design on the Ceiling is Repeated in 
the Swags of Fruit on Either Side of the Mantel 


*IXX Joideyo ‘suonvsyisadg 90g 
suoiipuog Auy 03 
Surus0juod sapeyg pue sauoy, ur pamnoo1g aq Aeur spayy 9u0}-3epT ur IojoD [NyyneaIg 


dad ALVTd 


Fd *, < 
DI WG 


tA Ste ae & 


SIDE WALLS AND CEILINGS 


built on Colonial lines, the plaster finish for the ceiling should be 
smooth and show an ivory tint. Such ceilings may be cross beamed, 
with the beams treated with ivory enamel, a narrow line of plaster 
ornamentation fol- 
lowing the beams, 
or a central design 
in plaster or orna- 
mental cove about 
the room, showing 
the egg and dart, 
or some other 
characteristic 
design. 

In PlateX XVIII 
a Colonial dining- 
room is shown. 
The elegant sim- 
. scat Vac. tent tie 
_ Plate XXXI. Floral Wall Papers are Particularly Appropriate chim neypie ce 1s 

for Bedrooms 


erfectly comple- 
mented by the pattern and color of the wall paper, which is from 
an old block of Colonial times, supplying thus an excellent back- 
ground for the really old pieces of mahogany. ‘The small all-over 
figure of this paper is in tones of faint gray and ivory. ‘The ceiling 
has been tinted a shade of ivory white harmonizing with the wood- 
work. 

‘Tapestry effects in wall-papers, where the colors are soft and 
dull, and the figures retreat well, are often good selections for rooms 
of Colonial character. Plate XXIX offers a good illustration of such 
treatment; here the ceiling is sparsely beamed and tinted the same 
shade of ivory as the woodwork shows. ‘The figure in this side wall 
is sufficiently unobtrusive to make it possible to use pictures against 
it effectively. 

Where the paneled side walls extend to the ceiling line the effect 
is dignified and beautiful, provided the arch detail of the wood- 
work is good. In Plate XXX we offer a very beautiful example of 
such treatment. This room is paneled in oak which has been 
stained a nut-brown color, and given a flat finish. ‘The plainness 
of the ceiling is relieved at the beginning<of the cove by a narrow 
line of plaster ornamentation showing fruit and blossoms. ‘The 


[ 35 ] 


hia 


YOUR HOME AND ITS DECORATION: : 


Plate XXXII. 


The Wall Covering 


is 


of Japanese Grass Cloth in a Shade of Golden Tan 


ante 


SIDE WALLS AND CEILINGS 


same design is repeated in the heavily carved swags of fruit shown 
on either side of the panel above the mantelshelf. 

Among the materials other than papers which are favored as 
wall coverings Japanese Grass Cloth ranks first. ‘This comes in 
a very beautiful variety of colors and shades, and the soft gloss 
which the irregular texture shows makes it an ideal wall covering. 

In many of the smaller places the paper-hanger feels that this 
is a difficult material to put on the wall. If, however, they care- 
fully follow the instructions which come with every roll there can 
be no real trouble. ‘The whole secret of its successful application 
lies in applying the paste to the wall surface rather than to the back 
of the grass cloth, as in wall-papers. 

Plate XXXII shows a very attractive hall in a modified Colonial 
house. [he wall covering is of Japanese Grass Cloth, in a shade 
of golden tan, harmonizing delightfully with the ivory tint of the 
woodwork and the mahogany furniture, hand-rail, and stairs. 

Floral wall covers are particularly appropriate for bedrooms, 


or 


Plate XXXIII. With Plain or Two-tone Walls in a Bedroom, Figured Chintz or Cretonne Should 
be Used for Over-Drapery 


[ 37 ] 


YOUR HOME AND ITS DECORATION 


although to-day many people have a prejudice against a figure 
which can be followed with the eye. However, there are very charm- 
ing and beautiful designs offered in imported and domestic papers, 
and used as in 
Plate XXXI, with 
plain window 
draperies the effect 
is charming. 
Where plain or 
two-toned striped 
papers are used in 
a bedroom, figured 
florals chintz un 
cretonne is dainty ~ 
and attractive when 
used for over- 
draperies at the 
windows, cushions, 


Plate XXXIV. A Green and White Bathroom and : furniture 
coverings, as shown 


in corner in Plate XX XIII. Here the furniture has been enameled 
with the same ivory white as was used for the standing woodwork 
of the room. ‘The walls are plain green in color, showing a two-tone 
stripe. A material similar in color and design is used to cover the 
wing chair. Draperies and cushions are made of French cretonne, 
showing garlands of pink roses and green leaves against an ivory 
ground. 

Most people prefer painted or enameled walls in their bath- 
rooms and in the service department of the house. There are, 
however, occasional conditions which make the use of a wall cover- 
ing desirable. In the bathroom, as shown in Plate XXXIV, is a 
paper of very attractive design of sea gulls against a light gray-green 
colored background. ‘This paper is heavy in quality and has been 
varnished, making it washable. A green and white bath rug 
should be used with this paper, and the woodwork treated with a 
high-gloss enamel which is impervious to heat and moisture and, 
therefore, suitable for such rooms in the house. 

Many attractive stencil designs can be obtained which are 
particularly suitable for the bathroom — a water-lily design placed 
just above the Keene cement or tile wainscoting produces a most 


[ 38 ] 


SIDE WALLS AND CEILINGS 


pleasing effect. These stencils should be applied with durable 
stencil colors over a sanitary painted wall. ‘The subject of sanitary 
walls and ceilings is dwelt upon in detail in Chapter XVII. Still 
more exacting conditions governing wall and ceiling finishes are 
found in the kitchen where steam and other fumes are to be con- 
tended with. This is a subject for the paint chemist, who has 
devoted years of study toit. ‘The only safeguard lies in choosing 
materials of the most reliable manufacturer. With the many excel- 
lent stains and the special stain reducers, these harmonious effects 
can be easily obtained. 


[ 39 ] 


CHAPTER VI 


FABRICS 


HE fabrics for curtains and upholstery required to give the 

final touch of livableness to the home are so varied in kind, 

quality, and price that it will be necessary to speak of these 
individually as suited to distinctive types of rooms. 

For the hall, living-room, and dining-room, in the small house 
or cottage, simple, inexpensive fabrics should be selected. If the 
house is built along Bungalow or Craftsman lines, if the wood trim 
and walls are severely plain, over-draperies at the windows may 
show a figure. ‘These may be of printed cotton, English chintz, 
taffeta or dimity, domestic or French cretonne, East India cotton, 
and Chinese or Japanese cottons and crepes. ‘The material chosen 
for the over-draperies should appear again in couch or chair cushions. 
If the couch requires a cover, a plain material, such as Brunswick 


Plate XXXV. These May be Finished with an Insertion and Border of Lace 


[ 40 ] 


FABRICS 


velvet, domestic or English linen taffeta in plain color, arras, monks 
cloth, or denim should be used, the same fabric being adaptable 
for door hangings, where greater weight is necessary than at the 
windows. ‘The material for these curtains should match in color 
the side walls to give the best effect. 

Next the glass of the windows, curtains of plain or figured net 
should be used. A very wide selection is possible in this material. 
‘The plain Arabian net comes in a rich shade of ecru as well as in 
white. Nets showing small figures, and filet nets in block designs 
reproducing the old filet laces are attractive. ‘The plain nets or 
others of small figures are, however, the best suited to the uses of 
the cottage or small house. “These may be finished with an inser- 
tion and border of lace, or a plain hem or tape border may be used. 
(Plate XXXV.) 

Where there are casement windows, and the English idea in 
furnishing the cottage is to be carried out, white muslin curtains, 


[ 41 ] 


YOUR HOME AND ITS DECORATION 


plain or dotted, hung next the glass are appropriate. (Plate 
XXXVI.) 

There is a plain, washable material made in England which, 
while very inexpensive, comes in 
excellent colors, dull blue, green, 
and cafe-au-lait. This fabric 
may be used next the glass or 
as over-draperies, and, with the 
duty added, costs about thiry-five 
cents a yard. It is thirty inches 
wide and known as casement 
cloth. It is particularly good for 
simple curtains, and has _ the 
advantage of taking stencil well. 
Special stencil cloths are also 
obtainable. 

Plate XXXVII shows treat- 
ment for a window in an old 
house, the interior of which has 
been redecorated. “The walls of 
this room have been covered with 
plain canvas which has _ been 
painted in a shade of cool green 
and given a dull finish. 

The drapery next the glass of 

the window is of madras in 
= = an ivory tone, and: therover 
= NERS draperies are made from 


Plate XXXVII. Over-draperies are Made from Casement casement cloth, on which— 


Cloth with a Stenciled Bord : | 
loth with a Stencile order forming 2 border—a stencil 


of pine cones and needles has been applied. ‘This, worked out in 
shades of brown and green, is most effective. It will be noted that 
these over-draperies are so placed as to entirely cover the window 
frame, the rod extending some four inches beyond the frame on 
either side, thus giving the effect of a much larger window, and, 
as these over-draperies are well pushed back, no light from the 
window is lost. (Specifications in Chapter XX.) 

Where the walls are covered with a figured paper showing a 
pronounced design, plain or two-toned curtains should be used. 
If the fabric is plain, a stencil border, or an applique (of design and 


be 221) 


FABRICS 


color similar to the pattern of the paper) may be introduced with 
good effect. 

For the bedrooms of the house, muslin curtains next the glass, 
with over-draperies in the above effects, are particularly pleasing. 

Where the side walls are plain or covered with a two-toned 
striped paper, figured cretonne curtains, as shown in Plate XX XVIII, 
look well. ‘hese curtains are made with a valance about ten 
inches in depth. ‘The side curtains hang straight, while the 
muslin or net curtains next the glass are caught back on either side. 

In selecting the materials for 
portieres, or the curtains dividing 
one room from the other, the color 
or colors must be such as harmo- 
nize with the general scheme of 
the room. Usually the dominant 
color should be repeated. Where 
the walls are figured, plain colors 
for these curtains also must be 
selected. Where the side walls 
are plain in color, fabrics show- 
ing a suitable design and colors 
may be used. 

In the charming bedroom and 
adjoining sitting-room, pictured 
in Plate XX XIX, a frieze of wall- 
paper showing yellow roses and 
green leaves on a white lattice 
against a soft gray ground sup- 
plies the color motif forthe scheme. 
‘The cretonne window draperies, 
chair and couch covers, show 
similar color and pattern. ‘The 
walls are finished in flat tone in 


a rich velvety yellow (see ghdeet eget iat a! 
Sempiete. specifications, ——  —___—{———> 


Chapter XX). This color = Sa ____ ie baa 


exactly matches the deepest Plate XXXVIII. Figured Cretonne Curtains Look Well with Plain 
° or Two-toned Striped Paper Wall Covering 
shade in the roses. ‘The 


door curtains are of the same tone and are made from upholsterers’ 
velveteen, a cotton velvet which costs $2.10 a yard, and is fifty 


[ 43 ] 


Plate XXXIX. A Frieze of Wall Paper, Showing Yellow Roses and Green Leaves on a White Lattice 
Against a Soft Gray Ground, Supplies the Color Motif for the Whole Scheme 


inches wide. ‘This fabric falls in soft folds which hold the lights 
and shadows delightfully. “The two sides of the material are laid 
together without interlining and finished about the edge with guimp 
of the same color. ‘These curtains are run on the rod by a loose 
casing at the top and slip easily. 

Flounced white dimity bedcovers are used on the twin brass 
beds. ‘The other pieces of furniture in the room are of bird’s-eye 
maple stained silver gray. 

The lattice introduced at the upper portion of the opening into 
the sitting-room was an inspiration to overcome an_ architectural 
defect. Curtains hung from the top of this opening were found 
to be ugly and ungraceful because of their great length. Since it 
was necessary to have curtains, the lattice—as the only form of 
grill to be tolerated—was introduced, and the curtains hung as 
shown in the drawing. ‘This grill was treated with ivory white 
enamel, like the standing woodwork of the room. ‘The suggestion 


[ 44 ] 


FABRICS 


for the wall-paper frieze was taken from this feature. It was neces- 
sary to introduce the frieze in this room to give it the livable air 
which a bedroom should show, as the ceilings are more than eleven 
feet. 

The rugs of Wilton velvet carpet, showing small green figures 
on a soft gray ground, round out a color scheme which 1s attractive 
and practical, for it renders a room of northeastern exposure bright 
and almost sunny. 

Plate XL offers a suggestion for window draperies in a room 
furnished in the Craftsman style. Gray linen crash is the fabric 


co or dy 


ma Mi i. Fn pa a 


ee —— =. 


< =~ c ~ — 


~ 


Plate XL. Suggestion for Window Treatment in a Room Furnished in the So-called Craftsman Style 


[ 45 ] 


YOUR HOME AND WIS DECOKRAg ON 


used, and the stencil decoration of 
peacocks and feathers is stunning 
in drawing and in color,—stencil 
No. 13 supplying these. ‘The 
green, bronze, and blue tone used 
in these shade one into the other 
most effectively. 

‘The walls of this room should 
be of the same gray color as the 
curtains, and against them the 
wide stencil frieze of strutting 
peacocks is found most decora- 
tive. A rug in two tones of bluish 
green, with woodwork and furni- 
ture of brown oak, would com- 
plete a room harmonious in 
color and full of artistic mean- 
ing. 

‘The simple treatment, shown 
in Plate XLI, for a French door 
is easily followed. ‘This, however, 
ie is really the only correct way to 

Plate XLI. Simple Treatment for a curtain such doors. The fabric 

French Door used, whether of net, silk, or 
madras, should be run by a casing at the top and bottom on small 
brass rods, and fastened tautly on each door. Once-and-a-half the 
width of the glass is sufficient allowance of the material for fullness 
to obtain the best effect. 

Plate XLII shows a type of window which appears in houses of 
to-day’s designing. ‘This type of window carries a suggestion of 
Colonial or Georgian architecture which, unfortunately, is not 
always borne out in the design of the house itself. “The question 
of treating the upper half-circle window is a very puzzling one to 
the amateur. For the style shown in the drawings, or for any of 
the rounded fan-transomed types, frames of light wood less than 
two inches wide and three-eighths of an inch in thickness are made 
to exactly fit the space. The silk, madras, net, or lace to be used 
as curtains is tacked securely about the upper edge, and folds of the 
surplus material are carefully and tautly drawn to the center of the 
straight lower edge. Where the joining is covered by a motif of 


[ 46 ] 


FABRICS 


lace, or if silk is used, a semi-circular mold or large button covered 
with the material may be made to serve. ‘lhe lower curtains may 
hang straight, as in the drawing, or be draped back on either 
side. 

Plate XLII shows a window in a library in which the furnishings 
are of the Empire period. ‘This, with the stenciled decoration of 
wreath and torch which forms the frieze, justifies the dull galloon 
applique of the velour curtains and valance. 

Many people are possessed by inheritance, gift, or purchase of 
certain pieces which they designate as “French Period Furniture.” 
To properly dispose of these is a question of burning interest. 

“My house is not built after any special style or period,” some 
anxious woman will say, “but | have lovely Verne Martin cabinets, 
and a set of Marie Antionette furniture in gold frames, and Aubosson 
tapestry mountings with shepherds and shepherdesses and _ rose 
garlands and bow knots in lovely pastel tones. ‘The standing 
woodwork throughout my first floor is of oak with the exception 
of the music-room; this 
is finished in birch. My 
reception-room opens 
directly off the hall, and 
for that reason | would 
particularly like to place 
this furniture in the 
reception-room, but feel 
perhaps it would not look 
well with oak woodwork.” 

Fortunate doubt, 
which will save this 
amateur house furnisher 
from making the great 
mistake of introducing 
formal period furnishing 
recklessly into a vernacu- 
lar house. The solution 
for this particular prob- 
lem was found in the 
birch woodwork of her 
music-room (which was 


: Plate XLII. The Question of Treating the Upper Half-circle 
quite shut off from the Window is a Very Puzzling One to the Amateur 


[ 47 ] 


YOUR HOME AND ITS DECORATION 


ws 


WY AYRE 


aus 


NW Lice © = 


aEu ret 


IGN 


Plate XLIII. A Window in a Library in Which the Furnishings are of the Empire Period 


rest of the house) finished in ivory enamel, and in covering the walls 
with a satin-finished paper of soft old rose color, showing a two- 
toned effect of baskets and bow knots. In such a setting the gilded 
furniture, the shepherds and shepherdesses, and the Verne Martin 
cabinets would not look out of place. ‘The location of this room, 
fortunately, permits it to be entirely shut off from the other living- 
rooms of this floor, which were finished in dark wood and would in 
nowise harmonize with the room described. 

After the backgrounds of walls and woodwork are properly 


[ 48 ] 


FABRICS 


established, the question of window treatment is of next importance. 
In rooms where such furniture will be introduced, the fabric selected 
for the draperies should be of silk or satin brocade, or similar ma- 
terial, and designed and hung with the period idea well in mind. 
The two designs shown here give suggestions which could be readily 
followed in the fitting of windows in rooms where the furnishing 
is after that of the time of Louis XV. or XVI. ‘This question of 
correct period decoration and ornament will be considered at greater 
length in a later chapter. 

For door curtains and upholstering purposes, wool tapestries 
of close, hard weave, reproducing many of the designs and colors 
of the old weavers, may be purchased at prices ranging from $4.50 
a yard upward. ‘hese are fifty inches in width. The Verdue 
pattern is particularly adaptable to a variety of color schemes, as 
the boles of the trees show 
Peete) (oliave an sa 


tones of olive to deep rich 
green and blue against a 


smoke-gray ground harmo- 
nizes with wall treatment in 
any one of these tones. ‘This 
particular pattern is close and 
all over, retreating well into 
the fabric. 

Another grade of tapestries, 
which are a mixture of cotton 
and wool, come in beautiful 
designs also. One, a repro- 
duction of an old French 
pattern, shows a close con- 
ventionalized floral design of ai 
leaves and blossoms in tones alt | 
of brown, dull red, olive, and ee 
old blue on a tan ground. 
‘This tapestry also lends itself 
to a variety of color schemes, : 
and will be found effective = sey | Aa 
as a covering for chairs, 1 = WEL 
davenports, window-seats, 
etc. Room Furnished After the Louis XVI. Period 


[ 49 | 


Plate XLIV. Suggestions for Window Treatment in a 


YOUR HOME AND ITS DECORATION 


There are many designs suited to a variety of rooms which can 
be readily found in these fabrics. Although tapestries suggest 
rooms of ae proportions with high wainscot of dark wood, 

it is possible and practical to use 


foeghe ae Se aoe them successfully in very simple 

“se Sp 9 heed Nee . 

nee ~ oy, rooms, where their strength of 
coat td ZX fox 


color and fitness of design work 
well into the general scheme. In 
Colonial rooms these fabrics may 
also often be appropriately and 
effectively used. 

The double-faced velour,which 
seems to have established itself in 
the minds of upholsterers as the 
one material to use for inexpensive 
door curtains, is not a bad choice 
if properly treated. Curtains of 
this fabric should be made 
simply, finished with a three-inch 
hem at the bottom, and run by a 
casing of the material at the top 
of sufficient depth to allow it to 
slip readily on the rod. The edges 
of the curtain may be finished by 
a narrow guimp or moss fringe, 
a quarter of an inch in width, 
exactly matching the curtains in 


bs Nes. 2s Ce yA wae 
Be Ys OR RE a? 


ey tl andl ae ae ee 


a Be 


[wees eee yy eae © py tenn Ons Met HANS 


ee ee 


~ - ? Cel Ceri ee Cope 8 mye? Cet Ca I Base 
RE a a ae pe ee ane el pm 
f 
al vt fel 2 33 > P 
= PEGE 


); color. The applique of galloon 
and many embroideries, which 
frequently find their way on such 

Plate XLV. Suggestions for Window Treat- curtains, are usually misapplied, 
ment in a Room Furnished After : 
perm ebese peti and should, as a rule, be avoided. 


This valour is fifty inches wide 
and runs in price from $2. 75 a yard to $3.50, according to the quality. 
This comes in a good range of colors, and often successfully 
fills all requirements. 

Brunswick, cut velvet, figured and plain wool damasks, and 
arras cloth are all fabrics which lend themselves well to special 
decorative effects. 

In rooms where old mahogany furniture is used against a low 


[ 50 ] 


FABRICS 


wainscot finished with ivory white enamel, the dull soft folds of 
velvet as door curtains, and as upholstery as well, fit perfectly into 
the picture—or the satin sheen of wool damask is suited to such 
rooms. 

Where Craftsman or Mission furniture is used these fabrics 
may also be introduced, but the coarsely-woven arras cloth treated 
with stencil borders is often preferred. ‘This material sells for 
$1.25 a square yard. 

A point for the amateur house decorator and furnisher to have 
well in mind in having her curtains made is that there should be 
no interlining. In this regard many upholsterers and decorators 
have held, and still hold, adverse opinions. When the question 
is raised, it is invariably met by the workman with the reply, “I! 
have never made them without interlining,’ and, therefore, he 
feels he must, of necessity, go on interlining them to the end. 

The stiff, stuffy effect that this interlining gives the curtains, 
however beautiful the fabric, is noticeable in many otherwise well- 
decorated and furnished rooms. ‘The several thicknesses of foreign 
material which are introduced between the exterior sides of the 
curtains successfully does away with all softness of folds and beauty 
of outline. ‘lo hang the curtain properly is also important. ‘here | 
is now a decided tendency to discard the curtain ring so long con- 
sidered a necessity. The effect of the fabric is greatly enhanced 
where it is run directly upon the 
rod, carrying thus the idea of a ——— ih 
drapery thrown over the rod. dl soeeresro MARTTI Mi 
When the curtain is allowed to ae Ti | i "tH Dae 
hang softly (without interlining) mon i | | Hii 


the full beauty of the folds is 
obtained by using the casing, and 
there is no possibility of sagging. 
Plate XLVI shows the advantage 
of this method over that of using 
rings. pil 

There is no single decorative | | | 
feature of greater importance to | | 
the completed success of the oF 
interior of the house than the | 


| shold selection and placing of Plate XLVI. Improper and Proper Way 
curtains for doors and windows. to Hang Door Curtains 


[ 51 ] 


YOUR HOME AND ITS DECORATION 


Rooms, otherwise perfect in detail, color, and furnishing, may be 
utterly spoiled by incorrect curtaining. More important than the 
fabric used for the curtains is the way they are made and hung. 

The correct treatment for the side lights, transom, or squared 
or full-length glass of the front door, is often a difficult point to 
decide. Where the hall is not well lighted by other windows, net 
or some diaphanous material should be used. 

If net curtains are used, they should be run upon small brass 
rods, one pair to the opening, allowing of slight fullness; they should 
exactly fill the space, or a flat, perfectly stretched piece of the net — 
showing a central lace motif may be preferred. ‘This must be fitted 
perfectly into the opening and well secured on upper and lower 
edges as well as on the two sides. ‘This same treatment may be 
used for full-length glass, with the slight change of fastening the 
lower edge of the curtains by running them also on a rod. 

If there are side-lights, they should be covered with the net or 
thin material, held by a rod at top and bottom, allowing slight 
fullness. 

If the transom is fan shaped, the suggestions made for the cir- 
cular window may be followed. 

Where the hall is well lighted, thin crinkled silk or raw silk, in 
color harmonizing with the treatment of the hall, may be used. 
‘The over-draperies at the hall windows to be of the same silk. 

Cheese cloth at five cents a yard, or any other inexpensive 
material, will give better and much more artistic effects, properly 
made and hung, than the elaborate lace curtains favored almost 
exclusively a few years ago, and used entirely without regard to 
the type of the room in which they were placed. ‘These, fortunately, 
have been relegated to the past in most modern homes, and where 
lace or net curtains are to be used, they are made to exactly fit the 
window, that is, reaching to the sill and run by a casing at the top 
on a small brass rod set next the glass. 

We have endeavored, in this brief chapter, to give suggestions 
which may be utilized in houses of various types. As a final word, 
we would add that in the windows of most interiors the best effects 
are obtained by hanging curtains which reach only to the sill, these 
to hang straight or be draped back, as best suit the tastes of the 
occupants. ‘There are, of course, exceptions where it is necessary 
to treat windows with full-length curtains, that is, curtains extending 


to the floor line, as in the illustrations Plates XLIII, XLIV, XLV. 
[ 52 ] 


CHAPTER Vii 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


O discuss the subject of this chapter in any but a most 

cursory way would require a volume of many pages. We 

hope, however, to implant in the mind of each one of our 
readers—who has not already felt it—the desire to know more 
about the beautiful works of the weavers’ art as shown in the older 
Persian, Caucassian, and Turkish rugs and carpets which are con- 
stantly being imported to this country. 

To one of artistic feeling there is a natural appreciation of the 
superiority of the old vegetable dyes, and however clever the modern 
artisan may be he has not yet been able by the use of his analine and 
acid colors to successfully reproduce the dull, soft tones possessed 
by the rugs made from the wools treated with these vegetable dyes. 

The books treating of the history and technique of these are 
few. Probably the best is that by John Kimberly Mumford, pub- 
lished in 1g00. ‘To this 
volume we owe many of 
the facts herein stated, and 
from which we will quote 
occasionally. 

To gain a knowledge of 
rugs, one must see them. 
It is through study of the 
actual fabric that this 
knowledge can best be 
secured. We, therefore, 
advise frequenting  trust- 
worthy establishments 
where such goods are 
carried. In examining 
them, one becomes familiar 
with similar characteristics 
existing in different rugs, 
which are not necessarily 
of the same name. Plate XLVII. Caucasian—Kazak 


[ 53 ] 


YOUR HOME AND ITS DECORATION 


In the larger cities one may visit the auction rooms where, 
throughout the fall and winter, sales are held, and where frequent 
bargains may be secured, if 
one is able to judge quality 
under the conditions usually 
existing at such places. 

For the amateur it is safest 
to rely upon the judgment of a 
dealer who has established a 
reputation for artistic feeling 
and honesty. However, for 
educational purposes, to spend 
an hour or two before a rug 
sale begins, examining the 
stock as displayed, with 
catalogue in hand, familiarizes 
the eye with certain features 
of peculiar types of rugs, and 
the effort to identify these 
characteristics in the rugs listed 

: ey in the catalogue is a great help 
Plate XLVIII. Caucasian—Soumack to the student. Of course, 
it is not always possible to suc- 
ceed in classifying, for, as Mr. Mumford says: “The latitude for 
error is boundless, even to the best judges, since manufacture for 
market has become the rule instead of the exception. Hence, no 
writer, no authority so called, no dealer in rugs, may lay claim to 
infallibility. Patterns, figures, designs are largely discarded as a 
means of identification after the eye is able to distinguish some 
of the most usual types. Secure such books on the subject as 
are authentic and endeavor to get close to the heart of the weaver 
by knowing what many of his patterns and designs mean in the 
rug language, for however distorted the art may have become 
through falling under the thrawl of commercialism, the older rugs 
tell on their faces romances and histories as truly as if the story 
was woven in letters of our alphabet.” 

A judge of Oriental rugs will probably look at the back of the 
rug first, and then examine the details of the texture, the kind of 
knot used, the material of the warp, weft, and pile, and the length 
of the pile. On the back he will count the number of knots to the 


[ 54 ] 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


inch for the warp measuring horizontally, for the weft measuring 
perpendicularly. ‘The more there may be, the longer it has taken 
to weave the piece, and an additional 
value is given it. By folding the face  ((gespmpssesezmsaes 
of the rug sharply to the back, between [IG awh ee. 

i ik) Sixpence D 


the thumb and first finger, the pile is 
opened up and the kind of knot is 
exposed. ‘The mental notes the con- 
noisseur so takes probably place the 
birthplace of the rug accurately in his 
mind before he examines its face for 
the color value. If the pattern and 
design confirm his conclusion, the rug is 
listed and passed. If, however, peculiar- 
ities occur which are not usually found 
in this type he begins at the beginning 
again, remarshalling his facts and re- 
adjusting circumstantial evidence until 
he makes them agree. If this cannot 
be done, it is listed without type or name, 
and designated as a “freak.” a _ 

Mr. Mumford classifies the Oriental Fite 41%: Caucasian—Karabagh 
products in four principal types, Caucassian, Vurkish, ‘Vurkoman, 
and Persian. 

In his book it will be seen that the four principal types are 
divided and subdivided until the number is many times multipled 
as to names, at least, these being derived from the name of the city 
or district where they are made, or from the name of the tribe 
making them. Hence, the search is pushed into the more remote 
districts, owing to the demand for these treasures. The quality 
gives a rug the name derived as above. It comes to market under 
that name, yet in reality is embraced under one of the four principal 
types in the foregoing classification. ‘The result, however, is con- 
fusing to the layman, as the multiplicity of new names met with 
in catalogues, and the stocks of dealers, serve to shake his confidence 
in his newly acquired information. ‘Therefore, it should be remem- 
bered that under whatever name a rug may be listed it is pretty 
safe to assume that it can be sifted down to one of the four prin- 
cipal types, and to one of the subdivisions of it, with considerable 
accuracy. 


[55 ] 


YOUR HOME AND ITS DECORATION 


- = Se WAN EAN 
ge MELEE SSSR SY VUSRVUNNDASAN UNO TUR NED EST UNS TRAA PENA CTE LNA 


“J = « 


my RNAS ESESSS Cie, x 
PEERS ESSN ZF 1g ar TPE TERNENVASSESASLSUSSDEVESNES FPS Save SENN Fe 


EC SK Ms he OER Rs CE GSS 


PUREST TE KESSEL 


e 


Ladik 


ish — 


Turk 


> 


SPOS 
a) 2 , 


ee eee 


Ve ae tad 
om “alt ake : FeSVANSTASREDRNSNAGA A LETS 
? 


Peet eees sans eyes srerese 3S 5 


CRC CEE « 


Plate LI. 


Re ee EEL 


ERE ag 


nee ea te 


Caucasian Shirvan Prayer Rug 


a, 


O07 ee 
AINA 


ao 
4 
ns 


- cS 
BO. 


~, 
eS 
tC 


Plate L. 


Melez 


h— 


1S 


. Turk 


Plate LITI 


[ 56 ] 


Plate LIT, Turkish— Ghiordez Prayer Rug 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


To aid in this work of 
definitely identifying a rug, Mr. MRF. 
Mumford has prepared exhaust- § eee: aes 
ive tables of characteristics § 
which, after the name of each 
rug, give a kind of knot em- 
ployed, the material used in the 
warp, weft, and pile, the finish 
of sides and apron or ends of 
the rug, and the number of 
stitches to the inch in both hori- 
zontal and _ perpendicular 
measurements. ‘These tables, 
which are bound at the back of 
the above-mentioned book, will 
be found invaluable, and we re- 
fer our readers confidently to 
them. 

Regarding the selection of 
appropriate rugs to certain rooms, it is not possible, of course, to 

advise specifically. Form, color, 
Mes alsa See =. and decorative features of the rooms 

should govern the selection. It is 
interesting and remarkable in placing 
an Oriental rug in a room where 
some one color is dominant, to find 
how magically the perhaps almost 
hidden shade of this same color 
responds and comes out prominently 
in the rug. For instance, in the 
rich Mosaic of colors found in the 
Persian rugs, one may be conscious 
chiefly of the old ivory and dull 
red tones, but placed in a room 
where the side walls are covered in 
shades of old blue, immediately the 
pastel blue of the rug becomes pro- 
nounced. Where this ‘Tesponse in 
color tone is not found in so placing 
Plate LV. Turkoman Khiva or Afghan a Tug, one may definitely realize 


Bergamo 


[57 ] 


Turkoman — Bokhara 


Saraband 


Persian— 


Plate LIX 


[ 58 ] 


YOUR HOME AND ITS DECORATION 


ca 


ne 


% 


Plate LVI. 


. 
~— 
> 
= SASSO ~ 
iw rei 
-~ 
—- 
a 
VP COT IULOIV EE LVELE EVEL PLECENP COCO PEER IO 
i, : ye x “ Pit a, 
Rios au yoenee Led: Hees t 
Ss 
= 
eetonsec sages ret 408 4 | : 
$ ue g 4 
: = weet % | 
re 
ar : 
= 2 
§ fe 
¢ 
er | 
Ss 
: 3 
hee: qj 
5 fc) 
$ we 
G =] 
8 H 
& 


Persian — Hamadan 


Plate LVIII 


Hair) 


(Camels 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


~ Plate LX. Kirmanshah—One of the Highest Priced Persian Rugs Made. An American Oriental 


that the walls or draperies of the rooms must be changed, or the 
rug removed, to secure a harmonious effect. 

In_the selection of Oriental rugs for the home, those of large 
figures and dominating designs should be used in rooms where 
the wall covering, draperies, and furniture upholstery are com- 
paratively plain. 

Persian rugs are found particularly suitable to rooms of delicate 
and dainty coloring. Among these the Tabriz, Kurdistan, and 
Kermanshah are always shown by good dealers. 

For dining-rooms and libraries the larger rugs or carpets are to 
be preferred. Those of the Turkoman or Turkish division would 
be found especially suitable. The Bokhara or Tekke, Afghan, 
Belushistan, are among the division most readily found and recog- 
nized. Among the Turkish rugs, the Kaba-Karaman, the Ana- 
tolians (which are often prayer rugs), are most frequently found 
in the auction rooms and regular marts. 

Of the Caucassian, the Kazak, Shirvan, and Daghestan. 


Where buyers must content themselves with domestic rugs, it is 


[ 59 | 


YOUR HOME AND ITS DECORATION 


td 7 ees 
oa. ho 


Plate LXI. Persian—Kermanshah 


KS 
DY RIOD AT ORY 


ke 
= 
& 
os 
ca 
= PE 3 
: ta F AV as Fav AY 


AYa¥a Va Vara 


we 


Plate LXII. Serapi (Persian). An American Oriental 
[ 60 ] 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


PPE EL eae 


_————_ SE eee me ee 2 Se a ee ee 


: oh 


: 
} 

} 
te 
| 

: 


i ea 


Basan ~~ eee Co peor Nacht Sal ee OO ee. vv rear "= re oe 


MRT MRT a eT I 


Plate LXIII. Scotch—Caledon 


not dificult to find excellent reproductions of a limited number 
of the Oriental designs. In many of these the coloring is wonder- 
fully soft and true. 

One factory in particular has been especially successful in its 
reproductions of some of these rugs. The quality and depth of 
the pile is excellent, and such as will insure long life to these rugs, 
even under severe usage. 

Beautiful patterns and colors are to be found in some of the 
finer grades of Wilton, Axminster, and English velvet carpeting, 
from which rugs may be made. 

For rooms in which of necessity much figure is used in wall 
covering and draperies, the plain or two-toned carpets are recom- 
mended. Such rugs may be purchased in an excellent line of soft 
colors, rich and dark, and should harmonize with the dominating 
color in the scheme of the room. ‘These rugs are often woven with 
the plain center, finished by a ten or twelve-inch border several 
shades deeper in tone. Such floor covering sells for $3.75 a yard, 
twenty-seven inches wide, and may be ordered in any color or from 


[ 61 | 


OUR HOME AND ITS DECORATION 


a variety of designs. ‘The stock sizes in both figured and plain rugs 
are slightly lower in price,—the size nine feet by twelve feet selling 
for $50. 

For bedrooms and the living-rooms of cottages or simply fur- 
nished, inexpensive homes, the best quality of Brussels rugs is not 
at all a bad investment, if one chooses carefully, selecting the soft 
or neutral colors and small designs. Such rugs may be purchased 
in size nine feet by twelve feet for $27.50. In selecting the floor 
covering for rooms which throw well together, not only the room 
in which the rug will be actually placed should be considered, but 
the adjoining apartments. Velvet Wiltons with special borders 
are very effective, and can be obtained in special sizes, allowing an 
equal width of floor all around the room. Hand-woven rag rugs, 
in colors harmonizing with the general schemes, are shown in 
the various chambers (see Plate E). ‘The Scotch rugs are extremely 
appropriate for dens and billiard rooms. ‘These rugs are very 
tough and durable. ‘They usually have plain centers with borders 
in simple Craftsman style. 


[ 62 | 


ORIENTAL RUGS AND OTHER FLOOR COVERINGS 


CLASSIFICATION OF ORIENTAL RUGS 


This chart provides a list of the most important rugs in the four great classes. 


PERSIAN 


KuRDISH 
YURUK 
HEREZ 
Bakshish 
Gorevan 
Serapi 
SULTANABAD 
Savalans 
Muskabad 
Mahal 
KARADAGH 
MosuL 
KouLTukK 
SouJ-BOULAK 
KurDISTAN 
BIJAR 
JoosHAGHAN 
HAMADAN 
Oustrinan 
Karaguez 
KHORASSAN 
MeEsHED 
Meshed Ispahan (commer- 
cial term for quality) 
FERAGHAN . 
Antique 
HERAT 
Ayin (cheap grade) 
SHIRAZ 
KIRMANSHAH 
TABRIZ 
SARABAND 
Selville (low quality) 
Niris 
LARISTAN 
KIRMAN 
SENNA 
KASHAN 
SARUK 
IsPAHAN 
Antique 


TURKOMAN 


AFGHAN 
BESHIRE 


BELUCHISTAN 


SAMARKAND 
YOMUND 
BoKHARA 


CAUCASIAN 


KazAK 
GENGHIS 
DERBEND 
LESHGIAN 
KARABAGH 
KABISTAN 
SHIRVAN 
CHICHI 
DAGHESTAN 
SOUMACK 


TURKISH 


OusHAK 
Yaprak 
Kirman 

BERGAMO 

KABA-KARAMAN 

KuULAH 
Modern 

DeEmIRDJI 
Enile 
Gulistan 

GHIORDES 
Modern 
Hammadieh 

KoNIEH 
Modern 

AKHISSAR 

Makri 

ANATOLIAN 

CASSABA 
Sparta 

CSARIAN 

MELEs or CARDIAN 

KirRSHEHR 

KuLAH 
Antique 

GHIORDES 
Antique 

LapIk 
Antique 


Plate LXIV. MHallinthe Small House. No Waste Spaces are Found in the Well-Planned Little House 


CHAPTER VIII 
THE SMALL HOUSE 


BUNGALOW, SHORE, MOUNTAIN, AND SUMMER DWELLINGS 


HILE houses embodied in the above category may vary 

largely in some respects, notably, in design, size, and 

cost, they still possess sufhcient underlying features of 
similarity to enable us to consider them in the same chapter. 

To-day the small house is more seriously considered in this 
country than at any other period. In the suburbs of the great 
cities and in many of the smaller towns this is forcibly illustrated 
by the character and style of the house which, during the last decade 
or two, has superseded the cottage of earlier.times. In the new 
towns of the Middle and Far West this is especially noticeable, 
each locality developing distinctive characteristics in its architecture. 
_ The man of small means, who, until recently, had no thought 
or ambition for his home other than to secure the most desirable 
location and a cottage in the best repair for his $20 a month, has 
now realized that for a like sum in monthly payments the property 
may become his own. With this realization has awakened the 
ambition to make of his house, however small, a real home. ‘This, 
in a measure, explains the change in the architecture of the small 
house of to-day. 

When an architect plans for the individual the result 1s, or should 
be, characteristic and much more interesting than where one design 
serves for dozens of houses. 

It is the part of wisdom, in building a home, to consider site, 
environment, and the proposed floor-plan relatively, and design 
the interior decoration, and even furnishing, with these points well 
in mind. 

Fortunately, with the passing of the jig-saw work and grills 
from the standing woodwork of the interior, the brass and onyx 
table, and plush-covered patent rocker, and all the attendant horrors in 
furniture and decoration which these stand for, are fast disappearing. 

Dignity, suitability, and simplicity of line and treatment, well- 
handled masses of color with values carefully considered, are the 


[ 65 | 


YOUR HOME AND ITS DECORATION 


points that make for success in the finish, decoration, and furnishing 
of a small house. However inexpensive the wood chosen for the 
standing woodwork, it is possible to obtain beautiful effects upon 
it through the medium of the stains and soft natural finishes which 
are now made. 

The idea of a best room reserved wholly for state occasions 1s 
also passing. ‘The stiff and uninviting parlor found in most cottages 
twenty years ago is, fortunately, almost obsolete, the living-room 
having superseded it. No waste spaces are found in the well- 
planned and compact little houses of to-day, and all rooms are so 
arranged that they open together, giving an idea of spaciousness 
which is very attractive. 


BUNGALOWS 


Probably no name applied to any one form of dwelling has been 
more overworked in recent years than this. Houses of many gables, 
having two and often three stories, have been called bungalows, 


Plate LXV. A House to be Properly Called a Bungalow Should Possess Some, at Least, of the 
Characteristics of the Style 


[ 66 | 


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BUNGALOW, SHORE, MOUNTAIN, SUMMER DWELLINGS 


and at least two-thirds of the regulation cottages of to-day, for some 
reason not evident, are designated as such. 

A house, to be properly called a bungalow, should possess some, at 
least, of the marked characteristics of the style, such as a long roof 
line as nearly 
unbroken as 1s 
practical, wide 
eave extension, 
and the veran- [Reees4. | w! 
da included 3 (oe s@eneee), 
under the main | 
roof, and the 
Smiter an ce 
should right- 
fully be into a 
central living- 
room, extend- 
ing through the 
house. 

The adop- 
tion of this style 
of house for all- 
the-year-round homes, in many parts of the United States, has 
rendered a modification of some of these features essential. How- 
ever, it seems an all-too-easy matter to so modify and change the 
plan as to leave but little of the real bungalow save the name. 

The thatched roof must give way to the shingle roof for sanitary 
and other reasons. The wide veranda may be removed because 
too much of sunshine is shut out in our temperate climate in the 
cold season. “The same climatic conditions render a small entrance 
hall or vestibule a desirable feature, and the great fireplace, at one 
end or side of the living-room, is one evolution which adds to the 
attraction of the room as built in this country. ‘The hot-air register, 
or radiators for steam or hot water, may also be there to protect 
against the rigors of winter. 

After all, the bungalow is a product of tropical conditions, and 
its transplantation to our climate is really a recommendation of 
the comfort of a one-story house, wherein the convenience of living 
and the ease of keeping house are emphasized at every turn. Its 
popularity is, therefore, easily accounted for. 


[ 67 ] 


Plate LXVI. A Studied Simplicity of Design and Detail 


YOUR HOME AND ITS DECORATION 


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BUNGALOW, SHORE, MOUNTAIN, SUMMER DWELLINGS 

There is, or should be, in the bungalow type of house, a studied 
simplicity of design and detail, a lack of pretense in the finish, the 
artistic and unaffected use of what may be termed common materials 
employed in its construction as an additional charm, and, 1n conse- 
quence of these, there exists the opportunity of exercising economy 
in building without detracting from its artistic effect or depreciating 
its value fain the standpoint of convenience and utility. 

Beautiful effects in natural or stained woods are usually observed 
in the interior finish of the best of such houses. ‘The simple lines 
lend themselves pleasingly to a sturdy and quaint style of decora- 
tion which should be evinced also in the furnishings and fittings. 

To secure the best results in the interior treatment of such a 
house, the standing woodwork should strike the color note for the 
whole. 

If gray, brown, or green stain be used, the wall color should be 
selected to entirely harmonize with this, or form an agreeable 
contrast. For instance, in a living-room and adjoining dining- 


Plate LXVIII. With Windows of the Casement Type 


[ 69 | 


YOUR HOME AND ITS DECORATION 


room where the standing woodwork is of ash, it might be given a 
weathered-oak stain and the walls painted in Flat-tone silver gray. 
A stencil frieze of 
flying pelicans in 
blue, gray, white, 
and black could be 
decoratively intro- 
duced. 

The linen crash 
curtains at the win- 
dows should be in 
the natural gray, and 
show here and there 
a flying bird like 
those of the frieze. 
Rugs in dull old 
blue and gray shades 


and Craftsman fur- 
Plate LXIX. The Furnishing Should Conform to the niture, upholstered 
Design of the House 


in dark blue arras 
cloth, would suit such a room to perfection. Some interesting 
pieces of blue and white Hawthorne ware, or an occasional old 
Canton jar, would add to the scheme. ‘The reading-table should 
be of generous dimensions and hold a lamp of Chinese porcelain 
with blue and yellow dragons upon it. The spreading shade 
should be of dull yellow silk. Under the lamp a square of old 
brocade in blue and yellow tones would complete the body of 
strong color contrast. 

Between this room and the dining-room the opening should be 
so wide that they would practically appear one, though hung with 
curtains of blue arras cloth with white and gray pelicans sweeping 
across them. ‘These curtains should slip readily on a brass rod, 
and be drawn close when required. 

The woodwork of these rooms should be the same, and the 
walls of the dining-room painted the color of oatmeal in flat tone. 
Curtains of blue linen should hang over plain ones of ecru net. 
All curtains should reach only to the sill. A rug similar to the one 
in the living-room should be used here, and the floor in both rooms 
should receive the same stain and finish. 

A strong color note could be introduced into the dining-room 


[ 70 ] 


BUNGALOW, SHORE, MOUNTAIN, SUMMER DWELLINGS 


by filling the shelves of the built-in china closet with china showing 
color decorations in green, old red, and blue. 

For the bedrooms of such a house daintier color effects should 
prevail. Floral ceilings or upper thirds to the painted walls might 
be used, and much of cretonne and chintz in the way of draperies 
and chair covers would look well. 


SEASHORE AND MOUNTAIN HOUSES 


The house built upon the shore of a sea or lake, or upon the 
mountain side, or in the meadows of the intervale, should be designed 
to fit the spot. 

Where built on the seashore, or where it is low and sandy, and 
the few trees show the effect of a wind-swept country, the house 
must be of the type that nestles close to the earth, and of generous 
width, suggesting comfort and a sense of security from the elements. 


Plate LXX. And Adhere Closely to the sia plicity of the Cottage Found in the Settlements of 
“Those Who Go Down to the Sea in Ships” 


[ 71 ] 


YOUR HOME AND ITS DECORATION 


Plate LXXI. The Atmosphere that is so Delightful in These 
Quaint Old Houses 


No towers 
or turrets are 
appropriate, 
though often a 
lookout deck or 
upper _ balcony 
placed at the 
point most per- 
fectly command- 
ing the view 
may be made an 
attractive feat- 
ure of the house. 
There should be 
broad verandas, 
so constructed 
that glazed sash 
may be firmly set 


to enclose them at will, to protect from the stronger winds. 

In a house of this kind the ceilings should be low and the win- 
dows of casement type, the furnishing should harmonize with the 
design of the house and adhere closely to the simplicity of the 


cottages found 
in the settle- 
ments of “‘ those 
who go down 
to the sea in 
ships. Ieite 
rag carpet, the 
dimity curtains, 
the Windsor 
chairs, all find 
places here, and 
on the mantel- 
shelf the brass 
candlesticks, 
thremcihowce 
pieces of Can- 
ton ware or old 


blue Stafford- 


Where Timber is Abundant, the Log House is 
Appropriately Placed 


BUNGALOW, SHORE, MOUNTAIN, SUMMER DWELLINGS 


shire or Lowestoft, which are the envy of the summer visitors in the 
native homes, may be reproduced in a measure, and help to create 
the atmosphere.that is so delightful in these quaint old houses. 

If the coast be precipitous and rocky, great cliffs rising from 
out the water against which the surf and sea beat, then a different 
form of house should be chosen, the foundations of which should 
reach down into the solid ledge, and the form properly follow the 


Plate LXXIII. Place the House so that, as Nearly as Possible, the Desired Amount of Sunlight 
and Shade is Obtained in the Living-rooms 


form of the cliff. A mounting tower would be suitable here, sur- 
rounded by many builded by nature in the adjacent landscape. 
In such a house the roof lines should be steep or broken into gables. 
Houses of this type lend themselves to varying floor levels in adjoin- 
ing halls and rooms. Such floor plans will please many who care 
more for the artistic effect and quaint arrangement of their rooms 
than for the practical comfort found in less unusual planning. 
Commodious fireplaces with heavy andirons, beamed ceilings, 


ere 


YOUR HOME AND ITS DECORATION 


and forged hangers for lamps or candles, add much to the effective- 
ness of such rooms. Great “picture windows”’ frame the views 
too beautiful -to 
hide with cur- 
tains. 

The same 
relative con- 
ditions govern- 
ing houses built 
upon the sea- 
shore exist for 
those built in 
the mountains, 
whether in quiet 
valley or rocky 
highland. 
Where timber is 
abundant, the 
log house is an 
appropriate 
choice; for the intervale, one of shingles or clapboards, properly 
stained, fits closely into its environment. Here a combination of 
ledge-rock or field-stone foundation, porch, columns, and chimney 
may be made with the shingles or clapboards, while a stone 
chimney and sections of logs for porch columns combine harmoni- 
ously with a log house. 

Where the site is a commanding one, let the dwelling seem a 
part of it. Let it rise on lines duplicating and completing the lines 
of the hill or mountain, and, as we have said, if the environments 
are rugged, let the materials of which the house is built be also 
rugged. Rough bowlders or stone for foundation and perhaps 
for the first story, while above, a frame or log effect may be used 
to utilize the natural conditions. 

Place the house so that, as nearly as possible, the desired amount 
of sunlight and shade is obtained in the dwelling-rooms. Let no 
beautiful view be obscured, and never cut down a tree until the 
house is finished, except those growing on the actual site to be 
covered by the house. 

When your building is completed, you may open up vistas and 
mask unpleasant objects intelligently and effectively. A great 


Plate LXXIV. Let No Beautiful View Be Obscured 


[ 74 ] 


BUNGALOW, SHORE, MOUNTAIN, SUMMER DWELLINGS 


point to realize is the importance of designing the house to fit the 
site, and to build of local materials where practical. Rough work, 
if the construction is right, will possess twice the artistic value of 
carefully set and pointed joints in stone or hand-smoothed and 
polished wood. 

In this day of rush and hurry, when the patience of our fore- 
fathers is but a memory, we cannot wait for the time and weather 
to do their work in toning and staining the exteriors of our homes. 
Therefore, we resort to stain to reproduce these wonderful tones 
and shades, and with a success which is gratifying. 


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Monticello, the Home of Thomas Jefferson 


Plate LXXV. 


CHAPTER IX 


COLONIAL HOUSES 


HE simple lines and dignified proportions of the Colonial 

house, as exemplified in the New England and Southern 

types, are as adaptable to the requirements of life to-day 
as in the days of the Georges. Careful study of the architectural 
form and detail of such houses will enable a prospective builder 
to intelligently discuss and understand the plans and suggestions 
his architect may offer him. In the modern Colonial house many 
of the most characteristic and beautiful architectural details are 
reproduced from the best-known examples of houses built before 
the Revolution, which are now standing. 


Plate LXXVI. The Modern Colonial House, the Entrance of Which Embodies Many of 
the Details of Monticello 


L773 


YOUR HOME AND ITS DECORATION 


The photographs we show of Monticello (Plate LX XV), the home 
of Thomas Jefferson, and one of the best examples of his archi- 
tectural ability, together with that of a modern Colonial house 
built recently in Southern California, will illustrate this point. In 
this latter it is easy to define the detail taken from the entrance 
of Monticello. (Plate LXXVI.) 

In planning a house, the situation and environment must, of 
course, be taken into consideration. ‘This seems of especial im- 
portance as regards the Colonial type. A stately columned Colonial 
house seems to require the setting of tall trees and sweep of rolling 
lawn. 

While the square and simple lines of the New England type of 
town house of that period may, as is frequently the case, have its 
front door give upon a small porch leading directly to the street, 
this opens wide into the central hall, and permits an unobstructed 
view of the beautiful old-fashioned garden through the almost 
equally wide and impressive rear door. 

The color treatment for the exterior of Colonial houses should 
not depart from the style established in the excellent examples which 
remain with us to-day. 

The suburban or country house of Colonial design should 
show the body of the house 
painted in true Colonial 
yellow (Plate LXXVIIT), with 
columns and trim of ivory 
white, and it should be remem- 
bered that Colonial yellow has 
no shade of green. Itis cream 
deepened to yellow. Or the 
columns and body of the house 
should be treated with white, 
the shutters and roof showing 
exactly the right shade of 
green. This matter of the 
right shade of color is of 
extreme importance to the 
finished success of the house. 
A rich, dark green, that has 


no yellow in it nor too much 


Plate LXXVII. Fine Old Colonial Mansion of > E 
New England of black, is the appropriate 


a7) 


COLONIAL HOUSES 


shade for the blinds. ‘The stain for the roof may be slightly lighter 
in tone. 

Full specification in regard to the selection of the materials for 
the exterior treat- 
ment of such houses 
will be found in 
Chapter XV. Many 
of the best examples 
of Southern Colo- 
nial houses are of 
red brick with the 
creamy-white trim, 
as shown in the 
Thomas _ Jefferson 
house, though many 
of the old Colonial 
mansions in Virginia 
and Kentucky, 
which are built of 
brick, are painted in 
white or the soft 
yellow shade above 
referred to. Also 
they are frequently 
left in the natural 
color of the brick, 
laid in carefully 


: Plate LXXVIII. This Type of Country House Should Be Painted 
smoothed white in Colonial Yellow With Trim and Columns of Ivory White 


mortar, many having 

for the trim white marble or stone, as in the Byrde house, which 
is one of the best examples of the Virginia Colonial. The shutters 
in both cases are painted green. 

The New England type offers a wider choice of color. White, 
yellow, silver gray, brown, and green appear with equal frequency, 
but usually the trim is ivory white, although the shutters are often 
painted in the same color as the body of the house. Where shingle 
sides are used, an exterior stain gives color to these as well as to 
the shingled ety 

In Colonial houses the front door is an especially important 
feature. (Plate LXXIX.) This, in almost every case, is painted ivory 


[ 79 ] 


YOUR HOME AND ITS DECORATION 


white. ‘The manufacturers of hardware to-day have supplied 
us with excellent reproductions of the old Colonial and Georgian 
designs. ‘There is, therefore, no excuse for marring the perfect 
effect by ill-chosen and inharmonious hardware. While this is 
a detail, it is an important one, and should be given careful atten- 
tion. 

When a modified Colonial house is planned, a wider choice of 
style, arrangement, and finish is permissible, though too radical 
a departure from the acknowledged pure form should be avoided. 
In many of these houses built throughout the country, and par- 
ticularly of the cottage type, one realizes that the jig-saw and turning- 
lathe have gotten in their pernicious work. A preponderous use 
of Palladin windows and fan-shaped glass for front doors is a mis- 
take, unless the proportions of the house are sufficiently imposing 
and dignified to carry them. 

In the modified, 
even more than in 
the pure Colonial, 
home, simplicity 
should be the key- 
note. So treated, a 
small and inexpen- 
sive house, built on 
Colonial lines, may 
be extremely digni- 
fied and attractive, 
whereas if too much 
detail is shown, and 
the ornamentation Is 
overdone, the house 
will stand for all 
that 1s most objec- 
tionable in architec- 
ture. 

The panels, col- 
umns, ornamental 
or plain cove, the 
carved or simple 
mantels, which find 


Plate LXXTX. In the Colonial House, the Front Door is an : : 
Especially Important Feature their places in the 


[ 80 ] 


COLONIAL HOUSES 


interior of Colonial houses, are easily recognized. Of the many 
architectural details and ornaments of the pure Colonial house we 


will in this chapter be enabled to call attention to some of the most 
characteristic which occur with the greatest frequency. “The comb1- 
nation of mahogany with the ivory enamel for standing woodwork 
is a pronounced feature in such houses. 

Plate LXXX shows a hallway in which the hand-rail, spindle, and 
steps of the stairs are mahogany, as are also the doors. ‘The 
remainder of the standing woodwork is treated with a beautiful 
ivory finish. ‘The groined ceiling shown here is a typical feature 
of much interest. 

The ornamental detail of the ceiling, cove, and paneled side 
walls, as shown in the Georgian drawing-room in Plate LXXXI, is 
characteristic and beautiful. Something more of the French decora- 
tive feeling is evinced here than often occurs in such rooms,— in the 
shell and acanthus leaf and heavy swags of fruit and flowers in 


[ 81 ] 


YOUR HOME AND ITS DECORATION 


applied plaster, which give beauty and richness to the over-mantel. 
The egg and dart design appears at the lower edge of the cove and 
is repeated again about the fireplace. 


FINISH FOR THE INTERIOR OF COLONIAL HOUSES 


The finish of the standing woodwork of the interior of the pure 
Colonial house, as we have said, most frequently runs to the ivory 
enamel, showing an eggshell gloss used in combination with walnut 
or mahogany, although in certain beautiful rooms of these old 
houses, particularly in libraries and see Net oak was used 
for the standing woodwork. 

In a later chapter the various materials Beet adapted for suc- 
cessful treatment of the interior will be fully considered. 

In the modified Colonial, where the money to be expended is 
limited, whitewood or poplar is selected as the choice for the stand- 
ing woodwork, as these take enamel admirably, and also show 
well under mahogany stain, although birch for the latter is prefer- 
able. ‘The former woods may be depended upon to give the maxi- 
mum of result at the minimum of cost. 

Floors may be of maple, oak, or any other hard wood. While 
in form, architectural detail, and proportion, we find it hard to im- 
prove upon the old designers in the finishes which are to-day procur- 
able for standing woodwork and floors, we realize the progress of the 
twentieth century. There are finishes now made for floors which 
give the full beauty 
of the rubbed wax of 
our grandmother's 
time, but with greatly 
reduced labor in first 
applicationand care. 

In the plumbing 
and heating appli- 
ances of the houses, 
also, as well as 1mm 
bathrooms, laun- 
dries, and kitchens, 
we no longer follow 
the exact planning 


of the old Colonial 


Plate LXXXI. A Drawing Room of the Georgian Type residence. Here we 
[ 82 | 


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H ALV Id 


COLONIAL HOUSES 


mark the advance of hygienic and sanitary ideas as these should 
be embodied in the modern house. 
Hard plaster, marked off into tile and finished with a sanitary 


: 
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Plate LXXXII. The Fireplace and its Over Mantel is an Important Feature in a Colonial Room 


high-gloss enameled coating, gives an effect closely resembling the 
real tile, and by many 1s a preferred treatment for kitchen depart- 
ments and bathrooms, as there is no possibility of the loosening, 
and, therefore, no opportunity for the lurking microbe in the setting 
of tiles. In the service department of the house this treatment, 
for a portion of the side wall, is exceptionally attractive and practical. 

While there is no single feature of any room more thoroughly 
decorative than an open fireplace, these seem almost essential in 
Colonial houses. There are, however, but few to be found, 
this day of luxurious living, which depend entirely upon the heating 
from an open fire. The radiator has become a fixed factor in the 
home, and while these are most unattractive features in themselves 
they seem absolutely necessary to the comfort of living. 

Efforts are constantly being made by the architects to so place 


[ 83 ] 


YOUR HOME AND ITS DECORATION 


these as to least affect the beauty of the room. ‘They are frequently 
set beneath window seats, in corner cabinets, and other disguises, 
but where very much heat is required such measures are not practi- 
cal. Therefore, if the ugly pipes must stand frankly forth they 
should, at least, be treated like the standing woodwork of the room 
in which they are placed; if they stand against a wainscot, or if 
they come directly against the wall covering, they should take on 
a color similar to it. 

It is possible to obtain finishes by which one can meet almost 
any color combination. 


FURNISHING THE COLONIAL HOUSE 


While it is no longer an easy matter to pick up well-authenti- 
cated pieces of Chippendale, Heppelwhite, Sheraton, or Adams 
furniture, excellent reproductions of all of these are procurable, 
if one is entirely familiar with the characteristics of the different 
designers, and can make their selections intelligently. 


Plate LXXXIII. The Chimneypiece Seats with Curved Ends First Designed by Heppelwhite 
[ 84 ] 


COLONIAL HOUSES 


There is, to-day, a return of interest in handcraft work, and 
we are steadily growing away from the taste for factory-made 
furniture, unless it is from such factories as make a point of the best 
workmanship and 
most careful repro- 
ductions, as well as 
goodoriginaldesigns. 

The window and 
chimneypiece seats 
with curved ends, de- 
signed first by Hep- 
pelwhite, many of 
which found their 
way into the Colo- 
nial houses of our 
forefathers, are suit- 
able only to rooms 
which are pure Colo- : ; > ey. 
nial in type. This, Plate LXXXIV. The Landscape Papers Which Were Greatly 
however, applies to Favored in the Time of the Colonies 
many pieces of Colonial furniture. Where one has a house of this style 
to furnish, careful assembling of old or well-reproduced pieces should 
be made. ‘The work of fitting such a home will be found a labor of 
delight, but should never be hurried. Only the absolutely essential 
pieces should be purchased in the beginning. When these are in 
place, with wall coverings and draperies, the need for a pier table, a 
high-backed chair, or a sliding screen will be much more readily 
realized, and its place awaiting it. 

In selecting wall coverings for the Colonial house (in which 
the walls are not all paneled), reproductions of the really old Colonial 
papers should be used. ‘These are frequently found in soft neutral 
coloring and two-toned effects, although some of them show a 
wider range of colors, which, as a rule, are harmonious. ‘lhe land- 
scape papers, which were greatly favored in the time of the colonies, 
are some of the best of them now being made again, many of them 
from the old blocks. These, however, should be used with dis- 
cretion. ‘They will be found especially suited to large halls and 
high-ceiled dining-rooms, set above the wainscot. By the expendi- 
ture of much care and some money it is possible to have to-day a 
very perfect house of the Colonial type. 


[ 85 ] 


CHAP Ti Rae 


ENGLISH STYLE OF HOUSE 


ERALD C, HORSEEY, FF. Ro LB. AS Sswritinesotgene 
modern English house, rejoices that there is, to-day, a 
return to excellent and thorough general craft training, 
so “that good craftsmanship for our homes in stone, wood, brick, 
plaster, or metal is now generally obtainable; and as any departure 
in art, or honest effort to improve one branch of art, cannot take 


La 


Plate LXXXV. Hall in English Castle of Gothic Architecture and Early 
Victorian Furnishing 


[ 86 ] 


place without 
affecting the 
whole artistic 
system, so_ this 
recognition of 
the claims of 
the craftsman 
has: led’ * tome 
thorough study 
and under- 
standing of the 
materials which 
he employs. It 
has become an 
accepted fact in 
building that no 
effort should be 
spared to insure 
that all work, in 
whatever mate- 
rials it is exe- 
cuted, should be 
carried out in a 
way which ex- 
perience shows 
to be best 
adapted to the 
material itself; 


ENGLISH STYLE OF HOUSE 


Plate LXXXVI. An American Modification of English Type of House 


and that artistic effect is given by the right use and combination of 
materials, and by an appreciation of their natural color and 
texture.” 

From the early Victorian period until a quarter of a century 
ago a style of architecture of interior finish and furnishing, as well 
as decoration, prevailed in England, which was, beyond question, 
inartistic and unpleasing; and since America followed closely the 
lines laid down by English architects and decorators at that time 
we also have occasion to rejoice in our own return to that which 
is good in design and workmanship, as well as in the materials used 
in the construction of the house. 

Flimsy, badly built structures are no longer tolerated in our 
cities, and while in the erection of the body of the great buildings 
the laborious and slow hand-work of the craftsman of the past is 
succeeded by modern time and labor-saving inventions, the same 
accurate and careful workmanship is demanded. 

The quality of the finishing materials procurable to-day for 


[ 87 ] 


YOUR HOME AND ITS DECORATION 


An English Suburban Cottage 


Plate LXXXVII. 


ENGLISH STYLE OF HOUSE 


the exterior and interior of the house is unsurpassed. ‘There are 
stains to be used on the heavy timbers of the house which reproduce, 
in tone and effect, 
the coloring of ages. 
Where varnish is 
used it does not, of 
necessity, mean a 
gloss surface, as 
there are many flat 
or dead-surface 
varnishes on the 
market. 

The careful 
architect selects 
among materials — 
the output of fac- 
tories which stand 
at the head — such 
colors and finishes 
as will preserve the 
wood, retain the beauty of the grain, and remain unaffected by 
weather conditions. 

Where a gloss surface for floors or standing woodwork is desired, 
it is obtainable, and in the service department of the house it is 
frequently to be preferred. 

The standing woodwork of the interiors of most of the repro- 
ductions of English houses is of oak, chestnut, or ash, and treated 
with a stain of rich, dark tone, and given a dull, waxed finish, 
effectually reproducing English oak or time-darkened chestnut or 
ash. 

For the standing woodwork in many of the English homes there 
is used a mixture of dark oak and ivory-white enamel, and the effect 
is not unpleasing. Frequently the doors are of dark oak, comple- 
mented by the mantel and ingle seats of the same wood and finish, 
while the paneling and standing woodwork of the room will be of 
ivory enamel. 

The examples shown in our illustrations of this chapter are 
American modifications of English types of houses. ‘These are 
comfortable and livable, and lend themselves well to almost any 
setting. 


Plate LXXXVIII. A Combination of Half-Timbered Upper 
with Lower Walls of Stone 


[ 89 ] 


YOUR HOME AND ITS DECORATION 


Plate LXXXIX. The Shadowing Trees of the Real Country 


To the great master, William Morris, England, and America 
as well, owe an unending gratitude. His precept laid down to his 
disciples and pupils, “Have nothing in your house which you do 
not know to be useful, or believe to be beautiful,” has assisted the 
processes of unfurnishing, and thus beautifying, the ponderously 
decorated and fitted homes of the recent period of ugliness. 

English cottages have long been recognized as having the pictorial 
quality to a great extent. ‘The lines of the thatched roof, the small 
diamond-paned windows of these, are frequently embodied in the 
small house as designed by our architects to-day. Where pic- 
turesqueness and quaintness appeal to the builder, such additions 
to the house as have been made to meet the requirements of the 
exacting householder of this time are confined to the structural 
materials used and to the more convenient and sanitary arrange- 
ments of the interior plan. From an artist’s viewpoint there 1s 
little room for improvement in the exterior form of the cottage. 

Of the larger houses, which yet do not reach the proportions 


[ go ] 


ENGLISH STYLE OF HOUSE 


and dignity of a manor house, the half-timbered style of the Tudor 
period is one much favored by our architects for reproduction. 
‘The exterior sanded stucco walls of the English house of this type 
are in America reproduced by those of cement, the material which 
is fast becoming a large factor in the building interests to-day. 

This style of house, with the upper story of cement, crossed by 
the longitudinal, perpendicular, and convening lines of richly colored 
timber, is adaptable to various settings. “lhe shadowing trees and 
rolling meadows of the real country are as suited to it as the tiny 
lawns and closely clipped hedges of the suburban street. Also it 
may be one of a block of city houses giving almost directly upon 
the street, and yet, architecturally speaking, it will be found to fit 
well into the picture. 

The low-raftered ceilings, quaint mantel-shelves, and darkly 
stained woodwork of the interior of such houses are retained in the 
American reproductions, as they make largely for the picturesque 
quality one feels in them. However, in our floor-plans some of 
the dividing walls are often left out and wide doorways are so placed 


nara LENE TRAE BION PT 


—— > i. 
ee ae Be OO RE 


Plate XC. Such Houses Lend Themselves to Any Setting 


[ 1 ] 


YOUR HOME AND ITS DECORATION 


Riss 


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ENGLISH STYLE OF HOUSE 


as to give an unobstructed view from one room to the other of the 
first floor. 

In looking over the plans of old and modern small houses of 
England, one realizes the same spirit which impelled the people of 


~~ 


be 


mm 


this tight little island to shut in their gardens by high walls and 
hedges—prevailed in the interior arrangement of their homes. 

We have also borrowed from the old world the idea of placing 
boxes of flowers on the outer sills of the window. Set almost under 
the eaves of the house, a riot of color and greenery is effectively 
introduced. ‘This style of window-garden lends itself particularly 
well to casement windows, where the frames holding the diamond 
panes swing inward, as in the illustration we offer. 


[ 93 J 


Emblem 
Crescent . 
1G Gallery 


Fontainebleau Par Fer beau 


J ‘ s Figg 
Fs hat 


Buns! Pod 
rancis 1. <y : ee 
rR aa a 


3 d 
‘tA 


: e saad cs as Co tag dutta rere bo Trine ehn ay chee odierye we kept an 


Hotet 
d Aumont 


Faris 


b Tos XIV 


ae 
af Me 
us etre 


the 
rintly Versailles 


se t Fontamebleau, Cpeine) BED ge eT 


Lasborde 
‘Taulays 


Plate XCIII. This collection of emblems and enrichments of varying periods are from well-known 
sources. ‘Though they are small they tell a story—a story of a nation. Look at the emblem of Napoleon, 
of Henry II., and of Francis I. Examine, if you will, the detail of the balustrade of the Grand Monarch. 
See the portrayal of classic shapes. A history is here in one sheet. 


CHAPTER XI 


PERIOD DECORATION 


EARS of study and an intimate knowledge of architecture 

are essential to a thorough acquaintance with the true mean- 

ing of the ornament and decoration characteristic of the 
various periods. ‘Therefore, in this chapter, under a general head- 
ing, while we can touch but lightly on the subject, we desire to 
embody such information as will enable the amateur to recognize 
and classify some, at least, of the ornaments and architectural 
detail which are representative of these varied styles. 

Where it is intended to embody in a residence rooms’ repre- 
sentative of these periods, the architect should act as mentor and 
guide, since the architectural design of the house in which these 
details will appear is of first importance. 

To the layman who has given this matter some study, the term 
“Period Decoration,” as applied to the time of the Louis’, suggests 
at once delicately paneled and satin-covered walls with overlying 
decoration of wreaths and garlands of applied stucco, against 
which is placed in formal arrangement the gilded and tapestried 
furniture of the period. ‘The form and general style of the car- 
touche or panel as representative of the different reigns mean 
little to him, while they are really of the utmost importance in 
characterizing the shades of difference shown in the architecture 
of the times. 

When he considers the Jacobean or Italian Renaissance, elaborate 
marble mantels in strong contrast with richly dark and carven oak 
in grills and screens and furniture come to his mind, together with 
walls hung with dull-toned, heroic-fhgured tapestries. Or if his 
thoughts turned to the time of the Empire, a suggestion of early 
Greek and Roman decoration as a setting for mahogany and marble 
furniture, with applique of brass in torch and acanthus wreath, 
ram’s head, and golden bee, seems adequate to him. 

While these ideas are, in a measure, correct, it is largely the 
proportion of the panels, and their placing and surroundings which 
are essential to characteristic development and detail as well as 
the ornament. Many, indeed, are the pitfalls and incongruities 


[ 95 ] 


YOUR HOME AND ITS DECORATION 


which beset the way of the layman, and when he attempts such 


decoration, one is impressed with the fact that a 


Wide Pent sis sR ae ee 


Plate XCIV. The chairs and table will be readily recognized as of the 
period of Louis XIV., 1643-1715, as found at Versailles. The frames are 
of gilded wood. ‘The covers of Venetian brocade are trimmed with a 
narrow gold braid and large-headed nails. The chandelier is of cut glass; 
it is Venetian in character.’ 


little knowledge 
is a dangerous 
thing. 

We feel no 
better explana- 
tory introduc- 
tion to tas 
subject can be 
found than an 
excerpt from 
the work, by 
Thomas Arthur 
Strange, on 
‘“Furniture, 
Decoration, 
W oodwork, 
and Allied Arts 
of the Seven- 
teenth and 
Eighteenth 
Centuries.” 

“But some 
of my readers 
may ask (and 
this book is 
mainly written 
for those who 
cannot be ex- 
pected to under- 
stand architec- 
tural. terms) 
what is the 
meaning of the 


word Renaissance as applied to architecture. | will endeavor, as 


briefly as possible, to explain. 


“Nearly every one knows that in ancient Greece civilization 
and refinement were carried to a very high state of perfection. This 
was especially so as regards the Fine Arts — the great period of 


Greek Art — during the fifth century, B. C. 
[ 96 ] 


PERIOD DECORATION 


a. “. ee eed : > ae Fae SO CP a AP ry var. ’ ; 
— . Si I ener om 
———— Sa RR a 
= ©. i eee DER AF . Sg ge et ( 
ee a hla NS ON ae 
7 ; “ ria 
: . 
-LouisXV-/ He : 
~— j Bae wig 
LS, Vat OuULs CAST 7: 
= Mi fat 
44 4 a 
a “af 


ee an ee ee 


{ 


t Wainscot “Fanelling Wainscot Fanelling Pad deh 
| Music Saton Arsenal, —~ Chateau Fetit Trianon j 1 
q Faris a a Baw 


if 


A ional 
all Ficach Royalfys 
= = 
: r re amuel Flowe 


Plate XCV. These sketches of paneling give some idea of the richness of this florid period. The 
skillful carving of tendril, bud, petal, shell, and flower reveal keen love of whimsical shapes and homage 
of a great nation to the charm and beauty of Nature in her many moods. Louis XV I. Lily of France 
eloquently recalling the stern simplicity and directness of the original emblem. Like the rest of the 
paneling at Versailles, the wainscoting is painted white. The mirror frame is gilded, 


YOUR HOME AND ITS DECORATION 


“After the conquest of Greece by the Romans, the latter im- 
ported to Rome Greek artists to build their temples, etc., and thus 
considerably developed the Greek style. ‘This lasted until about 
the middle of the third century, A. D. ‘The period embraced 
during these centuries is known as the Classic Period of Antique 
Art, and has been classified into the Five Orders: the Doric, Ionic, 
Corinthian, Tuscan, and Composite; the first three are Greek, the 
other two are Roman Orders. ‘The style which followed this period 
was called Byzantine, and was a sort of debased classic style influ- 
enced by Eastern Art. Medizval or Gothic style followed this, 
reaching its greatest perfection during the thirteenth and fourteenth 
centuries, but mostly in churches and palaces (the only places where 
‘it could sufficiently develop in those lawless times). Domestic 
Gothic architecture developed during the fifteenth century, and 
about the end of the fifteenth century in Italy what is called the 
Renaissance (meaning new birth or revival), that is, the student 
of those times both in literature and in the arts, began to study the 
remains of the Old Roman and Greek or Classic times; architects 
of this time not only imitating the ancient buildings, but further 
developing the style. (It must not be forgotten that in architecture 
the revival in Italy was mainly based on the old Roman ruins.) 
This was done, not only in architecture, but in furniture, etc., some 
of the best artists of those days working thereon, and in their enthu- 
siam for the old style making their carved chests in the form of 
Roman Sarcophagi and giving them the general outline and archi- 
tectural character. In South Kensington museums are to be 
seen many examples of these periods of Italian Art.” 

Among the many great architects of the Renaissance in Italy 
were Bramante, Barbaro, Sansovino, Sangalla, Michael Angelo, 
Raphael, but above all, the great Palladio. 

Therefore, it will be recognized that the acanthus, lily, palm, 
and all the classic forms which are so often repeated with shields, 
garlands of fruit and flowers, bow knots, and waving ribbons, were 
taken from the Greek. 

To distinguish French, German, and Italian Renaissance one must 
be familiar with the national characteristics of their art. An authority 
has stated, “That in the Italian there is suggested poetry and luxury, 
and in the French beauty and vivacity; in the German, a round, easy- 
going curl to the constantly twisting leaves with their fleshy, round 
ends, which suggests no great originality, but easy good nature.” 


[ 98 ] 


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yy aouryeq puv yurexysar ayy jo sadurexa ysaq ay3 Jo auo sdeyiod st sayfivsraq je uOURITY, 39g IY} UT WOOI-dIsNy_ 943 JO MIIA SIUT, "TADX Ig 


PERIOD DECORATION 


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Pen iensit 


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LCL IS POOP IOLEE BEI LI GID 


Ag" Rn ea a 


YOUR HOME AND ITS DECORATION 


During the reign of Francis I. certain characteristic decorations 
were developed by the French architects. Some of these are easily 
recognized, as_ the 
paneled pilasters 
intersected by the 
rosette or diamond, 
the use of a pattern 
as the background, 
or the enrichment of 
a surface, perforated 
carvings, carved 
tracery in railings, 
irregular quoins at 
corners, the shell, 
and, most important, 
the salamander, 
which was Francis’s 
own symbol. 
Cherub heads and 
satyrs all were dis- 
tinctive of ‘this 
period, many beau- 
tiful examples of 
which arestill extant. 

The interest in 
the arts and archi- 
tecture continued to 


Plate XCVII. The bed, wall covering, eee Se es vase are 
of the period of the First Empire. The severity and rigidity of this - : 
style is said to reflect the hardening under the pressure of dogmatic flourish during the 


ideas and showy—perhaps sordid—splendor of the Court in the time of 
Napoleon. The sketch is from a room in Versailles of an earlier date. 


reign of Henry II., 
the son of Francis I. 
In many of the carvings of that period the crescent appears, attrib- 
uted to Diana of Poitiers. Also the intertwining of D and H are 
frequently seen. . The cartouche or panel of this school was used 
most frequently in a formal manner, and all ornament had a hard 
and classic line rather than any delicacy. It was, however, usually 
in excellent scale, one piece being 1 in good proportion to another. 
‘There was much interesting work done also during the reign 
of the Henries, but where one wishes to distinguish the work of 
these succeeding periods, very careful study and research is necessary. 
The Renaissance was taken up in Flanders with enthusiasm, 


[ 100 ] 


PERIOD DECORATION 


where there were many great masters of design. This work much 
resembles the Elizabethan, but shows a greater delicacy and refine- 
ment of lines and curves. During the reign of Elizabeth and that of 
James |. there was an adaptation of other schools of ornament rather 
than original ornament. Much of stiffness and formality is felt in 
what is known as Elizabethan style of architecture and decoration. 

Jacobean architecture and ornamentation developed in E ng- 
land toward the latter end of Elizabeth’s reign and during the reign 
of James I. John of Padua and other Italian architects and 
designers were responsible for this change, and were influenced 
by Torregiano, who went to England in 1503. From this time 
on the Italian Renaissance, as interpreted by Palladio, held full 
sway. Later, by foreign travel, such men as Inigo Jones, Christo- 
pher Wren, James Gibbs, “tai others, were also schooled and 
inspired by the beauties of the Italian masters. Inigo Jones de- 
parted from the old customs during Elizabeth’s time, and, instead 
of leaving details to the master masons and carvers, made his own 
drawings and saw that they were properly executed. 
_ The characteristics of English Renaissance ornament are, there- 
fore, those of the time of Palladio as transformed by English hands, 
and Grindling Gibbons, undoubtedly, was the most potent English 
interpreter. In his carvings and decorations, encarpa of flowers 
and fruit, panels of game and shell, and other ornaments, Italian 
imitations predominate. About 1760, the Adam Brothers. began 
to influence English architecture and ornament decidedly. ‘This 
later was evidenced in our own Colonial designs as evolved from 
the Georgian. 

THE PERIOD OF THE LOUIS’ 


Simon Vouet, born 1590, died 1649, was the first of the French 
Renaissance to employ abundantly the floral detail in connection 
with more conventional scroll work. ‘This later was to become 
characteristic of the period of the “Grand Monarque.’ Vouet 
was the forerunner of La Pautre and J. Berain, both of whom show 
his influence in their work. In the year 1627 he was appointed 
painter to the king. 

: LOUIS XIII. 


During the reign of Louis XIII. the cartouche, encarpa, wreath, 
ribbon, cherub, and masque were freely used. ‘The cartouche was 
large in scale and loften grotesque, with heavy fruit pendants, the 


{ ror | 


YOUR HOMEVANDON S WDECORALTION 


edges cut into curling tendrils of bulky character. ‘These also 
showed slightly indicated eyes or noses, producing grotesques of 
varying expressions. 

In the ornamentation of this period, both in stone and wood, 
one feels the generosity of relief and breadth of surface. Pediments 
were sometimes broken by cartouches, but not so frequently as in 
later schools. Battle scenes were carved in the panels, and the 
broken curve is used in consols, with the acanthus on the face. See 
PlateeX Gi 


LOUIS= XLV; 


The reign of Louis the Grand extended from 1643 to 1715. 
‘The arts prospered greatly during this period. A studied elegance 
and restraint is indicated in all of the designs of that time. Among 
the repetitions of ornament are the acanthus or other foliage, often 
with serrated edges when used in flat decoration and in shells. At 
this time, too, the latticed backgrounds for panels were used. 

During his reign the palace of Versailles and the Invalides were 
designed by Jules Hardouin Mansard. Le Brun also flourished 
at this period. Claude Perrault designed and built the facade 
and colonnade on the Louvre, and ranks as one of the greatest 
architects Europe has ever known. His designs are distinguished 
by their solidity and richness of decoration, such as marked certain 


periods of the Italian Renaissance. See Plates XCIV and XCV. 


LOUIS XV. 


During the reign of Louis XV. a riot of decorative ideas pre- 
vailed, climaxing in the freedom of the Rococo. Here we find the 
use of the reversed curves in the cartouche. The beauty of the 
ornament of this period is great in its imaginative and airy quality. 

Rococo is derived from “‘rocaille’’; sea weed, shells, and the 
rocks are what it stands for. Delicate and almost like the foam 
of the sea are some of these designs. | 

‘The restraint of the decoration in the time of Louis the Grand, 
together with the restraint of the manners of the court, were thrown 


aside at this later period. See Plate XCV. 


LOUIS XVI. 


A noticeable reaction from the excesses of the Louis XV. period 


is felt in the Louis XVI. The flourish and sweep of the Rococo is 


[ 102 ] 


PERIOD DECORATION 


Plate XCVIII. The screen of the Jacobean period, 1603-1690, portrays in the thin-turned standards 
somewhat the influence of metal work of Spain. It is of oak inlaid with ebony. The cabinet recalls 
the details of furniture found in the Low Country. 


gone. Only an echo of it is to be noted in the curves and contours 
of more sedate character. Garlands of fruit and flowers with pine 
cones for finials are used. Vases, cherubs, griffins, and palms are 
again introduced, suggestive of the Roman. Where curved borders 
are used they are merely reminiscent of the Louis XV. time. Borders, 
generally, are in straight lines with rectangular breaks, and the pearl 
guillouche and the ribbon are resorted to. ‘The ribbon appears 
most frequently ingeniously designed in borders and frames. See 


Plates XCV and XCVI. 


EMPIRE PERIOD 


During the time of Napoleon, with the establishment of the first 
Empire, France made for herself a new school of ornament. ‘This 
consisted largely in the return to classic forms, but these were inter- 
mingled with the imperial insignia and such emblem as the time 
made appropriate. ‘The Bonaparte “B” is represented by a bee, 
which occurs frequently in ornamentation of robes, draperies, wall 
coverings, and in carvings and moldings. 


[ 103 ] 


YOUR HOME AND WIS DEGORAIICD 


This ornamentation is sometimes made of ormulu, which 1s 
fastened to the wood or stone or the marble of the furniture to be 
ornamented. Very distinctive designs of this period are the olive 
branch garland and wreath and flaming torch. ‘The fleur de lis 
appears frequently, and in the background and fabric the diaper 
pattern is most often found. See Plate XCVII. 


COLONIAL 


Colonial architecture is the exemplification of inherited tradi- 
tions from our French and English ancestors. “Thus America has 
developed a school of architecture and ornament which she can 
claim as her own. Beginning in 1643, and existing up to 1815, 
and for a period following, many beautiful examples were produced. 
Jefferson, Bullfinch, and Latroube were among the best-known 
designers. 

‘Two distinctive types of Colonial houses stand to-day as repre- 
senting the English and French styles, the southern Colonial being 
largely of the French school, the best examples of which were pro- 
duced in 1730. 

‘The Georgian or most correct period of the English Colonial 
began early in the reign of George III. 


[ 104 ] 


CHAPTER - XII 


4 8) ee EF 


SHAW SPARROW, an English architect and writer, 

claims that in England and Scotland the flat first found 

e its origin in palaces and castles, where courtiers and 

retainers lived in separate suites or apartments. ‘This was previous 
to the sixteenth century, when in the Inns of Court a bencher had 
his separate chambers, a bedroom and a room for business, and 
even at an earlier date a similar idea had shown itself in Edinburgh. 

Mr. Sparrow further says, “When changes of importance have 
taken place in Domestic architecture it has happened frequently 
that the first appeals have been made to the rich and to the poor. 
The palaces and the castle (or big country house), the cottage and 
the farmer’s homestead have felt the new influence before it reached 
the houses of the middle classes. Something very similar to this 
occurred in the case of our modern flats, their benefits being em- 
ployed most successfully for the poor and for the rich. Between the 
Flat-de-Luxe and the Industrial dwelling there are certainly many 
connecting links, but few among them are well fitted for the middle 
classes. ‘Those flats which have some points in common with the 
dwellings for the poor without being such have seldom any archi- 
tectural interest.” 

In view of these statements it is interesting to contrast the Eng- 
lish flat with what the United States has to offer in this line. ‘The 
American of corresponding financial standing with the middle class 
of England is the one in this country who benefits most largely 
from the comforts and conveniences offered by the apartment house, 
as we term it here. 

Architecturally, there has been in this country in the last two 
decades tremendous strides in the designing of such buildings, and 
the apartment house to-day has become an important factor in 
the domestic economics of our cities. Many nations have been 
drawn upon for ideas, which have been cleverly adapted and often 
improved to meet the needs of that most exacting personage, “The 
Citizen of the United States.” 

An excellent plan for an apartment house 


where the ground 


[ 105 | 


YOUR HOME AND TITS DECORA TION 


space permits —1s to build it about a square court yard. ‘This 
may be so arranged that the drive circles about a fountain, which 
during the warmer months may be surrounded with growing plants. 
This plan insures well-lighted and sanitary rooms for all of the 
apartments. 

The importance of rendering the entrance hall worthy of the 
building, in proportions and in decoration, cannot be overesti- 
mated. Dignity and simplicity, with harmony of color, are 
essentials. 

Many of the earlier buildings, and even those planned within 
the last ten or fifteen years, show a tendency to over decoration. 

However, the most recent examples of the apartment house, 
as evidenced in our great cities, exhibit together with the improved 
design and arrangement far better and simpler decorative effects. 
The day of imitation-marble columns of disproportionate size, 
of flamboyant wall covering, and ornamentation of gilded stucco, 
which usually accompanied flimsy construction, 1s happily passing; 


Plate XCIX. Simple Dining-room in a Modern Inexpensive City Flat 
[ 106 ] 


288, CITY FLAT 


and this, fortunately, extends beyond the entrance hall into the 
individual apartments. 

A few years ago cheap wood, stained a brilliant cherry and 
miscalled mahogany, was given a coat of ene glazed varnish as 
a finish, and considered entirely suited to the drawing-room and 
dining-room of an apartment. If this boasted a library as well, 
the woodwork was probably grained in imitation of golden oak 
and highly varnished. Where white paint was used for the bed- 
rooms a poor quality of bluish cast seemed the invariable choice. 
In the selection of tiles, hardware, and fixtures the same bad taste 
was felt,—extravagance of strong color and incongruous orna- 
mentation taking the place of quality. ‘To-day the architect has 
brought to the owner the realization that true economy in the finish- 
ing materials for such buildings lies in selecting the best, and this 
fact accounts, in a large measure, for the improved structural, as 
well as artistic, conditions. 

The simple dining-room, shown in Plate XCIX, is in a modern 
inexpensive city flat. 
This particular din- 
ing-room is in the 
home of a woman 
worn and weary 
with what she calls 
“the pretentious, 
musty, fussy decora- 
tions’’ of the board- 
ing-house in which 
she has lived before 
she found her own 
little five rooms. 

Plain walls and 
altogether undeco- 
rated surfaces 
appealtoher. The 
rough plaster has 
been painted in flat 
tone, and presents 
an unglazed finish; 
in color it is a soft, 
Plate C. Plain Walls and Altogether Undecorated Surfaces clean yellow, and 


[ 107 ] 


YOUR HOME AND ITS DECORAGION 


the ceiling is of ivory tone. ‘These colors contrast pleasantly with 
the brown stain used on the woodwork. ‘The inexpensive china in 
the plate rack is of blue and white, and the furniture stained to 
match the woodwork is plain in design and construction. ‘The 
drugget under the table repeats the deepest shade of blue in the 
china. 

Even scarfs and doilies for the table seem too frivolous to this 
disciple of simplicity. 

The pictured stretches of green and the expanse of blue sky 
and clustered trees she has on her walls serve as a bit of out-of- 
doors to her, and she rests content. 

While the almost Japanesque plainness of this little room may 
not appeal to all, it is an excellent and suggestive study. A few 
gracious decorative touches might be added which, if carefully 
restrained, would, doubtless, to many women, strengthen the charm 
of the room. 

The finish of the entire building, of which this flat is a very 
small part, is of marked simplicity. ‘The standing woodwork, 
in the dining-rooms and living-rooms, is of ash treated with a hand- 
craft stain, unfilled and given a surface resembling rubbed wax, 
though the material used is one which is impervious to water, and 
will not spot as does the waxed finish. 

The stiles, rails, and panels of the doors, as well as window 
and door-frames, base-board, and cornice are entirely without 
ornamentation, as will be seen in the picture. The best quality 
of finishing materials and careful selection of colors have been 
employed for woodwork, floors, and walls, and the effect is beyond 
criticism. (See specifications in Chapter XX.) 


[ 108 | 


CHAPTER XIII 


REMODELING AND REDECORATING 


HE problems confronting the owner who wishes to remodel 

his old house vary with the style of the house and the extent 

of the work contemplated. Hence, only such conditions 
will be discussed as are likely to appear in average cases. 

Where the area covered by the house is to be increased, it is 
very important to see that the new foundations are perfectly bonded 
with the old, and that the footings have, at least, as good material 
on which to start as the original foundations. ‘This will make it 
unlikely that any settlement will occur, and will thus prevent the 
cracking of plaster at the joining point. 

I} new chimneys are to be included, see that the bases of these 
are sufficiently broad to insure against settlement. Chimneys 
built of brick, lined with terra-cotta flue linings, are less heavy than 
those of all brick, and are also safer from fire. “These are unhesi- 
tatingly recommended. All chimneys which are not outside, or 
exposed, should be plastered smoothly on the outside, and no 
woodwork should be placed closer than one inch to the chimney. 
hoo. much 
care cannot be 
given to foun- 
dation and 
chimney work, 
whether it be 
in a house be- 
ing remodeled 
or for a new 
structure. 

If parti- 
tions are to be 
moved or taken 
out it must be 
determined 
whether or 
not they are Plate CI. “ Before ” 


[ 109 ] 


YOUR HOME AND ITS DECORATION 


“bearing” partitions, and provision made accordingly. In every 
respect the services of an architect are as essential for a remodel- 
ing job as for a new one, and this question of tampering with 
partitions is 
one where his 
judgment must 
be consulted 
and followed. 

After the 
necessary 
changes in size 
and shape of 
roomis 2iGe 
made, the new 
door and win- 
dow openings 
cut, and the old 
ones, where 
not desired, are 
closed up, it 
will be the 
proper time to have the electric-light wiring installed. Provision 
should be made for numerous base-board and floor attachments 
for table lamps. A diffused light from wall brackets and table 
lamps is in many rooms most agreeable and artistic. It 1s 
well to provide switches for all ceiling fixtures, and don’t fail 
to have the lights on the entrance porch, as well as other 
verandas, controlled by switches just inside the door leading to 
them. 

It is a desirable plan to have a light at the side of the front door 
which will cast its rays on the face of the visitor seeking admission. 
Many little conveniences may be provided for, without adding 
materially to the cost, if thought of, while the rough work 1s in 
progress. 

The gas piping will also be done at the same time as the wiring. 
If not already there, it should be run to the kitchen for use in the 
range, and to the chamber fireplaces, where a little heat 1s some- 
times agreeable in fall and spring before the general heating system 
of the house is started for the winter, or after it is allowed to die out 
in the spring. 


Plate CII. “ After” 


Panto. 


REMODELING AND REDECORATING 


The heating apparatus of the remodeled house will also be 
installed during the progress of the rough work. 

Hot-water circulation, steam, or hot-air may be used. For 
quality of heat, and the uniformity of it the hot-water system is 
undoubtedly the best. Steam under low pressure is next in desira- 
bility, and lastly, though cheapest, is the hot-air furnace. If ex- 
pense does not have to be considered, indirect radiation in connection 
with the hot-water and steam system 1s most desirable, as by that 
means the radiators, which under the most favorable conditions 
are not objects of beauty, may be entirely out of sight. 

Plumbing work for the new bathrooms, pantries, etc., should 
all be put in place while the rough work 1s in progress, that is, the 
hot and cold-water piping, the soil pipes, and the pipes for back 
venting all traps to fixtures. ‘This work, as well as the electric 
wiring and gas piping, will be installed in accordance with the local 
ordinances governing same, and will, of course, be passed upon 
by the official inspector before being covered up. Haste in this 
matter often results in loss of time and entails much expense. 

The electric-bell system of the house will also be provided for 
before any plaster is put on. 

After the several branches of work above enumerated have been 
installed and approved, the plastering may proceed. It should 
have been previously decided which rooms are to have walls finished 
in rough or sand finish for tinting, and which will have hard, smooth 
walls for papering. Some may have sand-finished ceilings and 
smooth walls, or vice versa. It is well to take the trouble to insist 
upon the mortar being made sufficiently long in advance to insure 
the thorough slacking of the lime, and avoid subsequent “ popping,” 
and also see that the wooden lath (if they are used) have been 
soaked until saturated with water, and when applied to the stud- 
ding they should be spaced three-eighths inch apart. If lath 
are put on dry they will swell when the wet mortar is applied to 
such an extent that the keys are pinched off, and the plaster will 
fall. 

In some rooms it may be that only a part of the old plaster has 
been removed. The joining of the old and new will be a difficult 
line to hide, but with extreme care it can be done. It would be 
well, however, where this occurs, to cover the entire walls and 
ceilings with “blank stock’’ before painting or papering. This 
will prevent the small cracks, present in all old plaster, from 


fice 


TOUR. (HOME AND ITS DECORATION 
being noticeable. On the “blank stock”’ the regular glue or 
varnish “sizing”’ will be applied just as it would be to the plaster 
walls. . 

If the exterior walls of the house (supposing it to be of frame) 
are covered with clapboarding, rustic siding, or tongue and 
groove siding, and a change is desired, shingles may be applied 
directly over the 
siding. In this case 
care must be taken 
to increase the 
thickness of the 
door and window 
casings by adding 
a back band and 
molding, and to 
carefully flash with 
tin, painted both 
sides, around all 
Lg eee | such openings. If 

Plate CIII. © The Old House the walls of the 

old house were 

covered with shingles originally, which are not in good condition, 

they will have to be removed before re-shingling or re-covering 
with any other form of siding. 

The floors of a remodeled house must receive special attention, 
and the condition 
in which they are 
finally left has much 
to do with the gen- 
eral effect of the 
entire remodeling 
work. Assuming 
that the original 
floors have been in 
use for many years, 
and that they were 
laid with pine, there 
will be places where 
the excess of wear ” 
has worn them very Plate CIV. The Remodeled House 


[ 112 ] 


REMODELING AND REDECORATING 


thin. If it was laid originally over a rough floor, it would be best 
to remove the top floor entirely and replace with new material in 
hard wood if possible. If the original floor was laid directly on 
the joists let it remain and lay the new floor on top of it, being 
careful to level up the worn places so that the new floor has solid 
bearing everywhere. ‘This will raise the level of the floor seven- 
eighths of an inch, which will necessitate raising the baseboards 


. . 5S . 
and door trim (where the old remains), as well as shortening the 


Plate CV. The Louis XVI. Drawing-room 


doors themselves to that extent. After the first cost a quarter- 
sawed oak floor is probably the most satisfactory. If properly 
finished, it is easily cared for, and retains its original beauty for a 
great number of years, in fact, it seems to acquire a new beauty 
of richness in tone as the years advance. 

The accompanying photographs of the remodeled house, taken 
before the improvements were made and afterwards, serve to show 
what can be done with rather unpromising material. 


[ 113 ] 


YOUR HOME AND ITS DECORATION 


Sccaaretom eco naan ec a 


*s Old Home 


ing 


in Washington Irv 


ining-room 


The D 


Plate CVI. 


REMODELING AND REDECORATING 


The elimination of the prominent gables, the addition of the 
wide galleries to the end of the house, and the placing of a hipped 
roof over the whole, has given the house new and infinitely more 
pleasing lines. ‘The upper and lower porches or galleries, with 
their unbroken horizontal lines together with the long lines of the 
eaves, serve to decrease the apparent disproportionate height of 
the house. ‘The terracing of the grounds in front has also assisted 
toward this same end by giving additional horizontal lines. 

This example is especially interesting in illustrating, as it does, 
how in the original house everything was seemingly done to add 
to the apparent height of the structure. The emphasizing of the 
perpendicular lines of the corner boards, the high gables, and the 
columns of the porch all tended to that end, while the finished effect 
of the remodeled house is that of a rather low and spreading build- 
ing, inviting and homelike. 

The interiors here illustrated are from a New York house of 
historic interest, as 
it was long owned 
and occupied by 
Washington Irving. 
It has now passed 
into the hands of 
some well-known 
and artistic women, 
one of whom excels 
in the art of deco- 
ration. Under her 
clever supervision 
but slight changes 
have been made in 
the actual archi- 
tectural detail of 
these rooms, but 
they have been fit- 
ted and furnished 
after the style of 
the Louis XVI. 
period and may be 


regarded as unusu- 


Plate CVII. The Fine Tapestries Which are Hung in the Panels 
ally successful types of the Wall Introduce Agreeable Color Notes 


fit} 


YOUR HOME AND ITS DECORATION 


of such furnishing. ‘The pictured views of the long drawing-room 
and dining-room convey some idea of the harmony of the architec- 
tural detail and furnishing, though they do not show the exquisite, 
low-toned color combinations which characterize these rooms. 

In the dining-room (of which two views are given) soft, pearly 
gray is the prevailing tone of walls, woodwork, and furniture. The 
fine tapestries which are hung in the panel of the walls introduce 
agreeable color notes. ‘The dull old rose shown in these is repeated 
again in the stripes of the chair seats and the rug upon the floor. 
In this house one feels that no good point has been lost. It has 
been tenderly and reverently handled in its re-decoration. 

In undertaking the remodeling of a house, the exterior and 
interior should be carefully studied, and the changes made be only 
such as will harmonize with the untouched portion of the house 
which must remain. 

‘There are a number of architects who devote themselves exclu- 
sively to remodeling. In such cases, it is usual for the architect to 
design the interior alterations and decorations as well. 


LPO | 


‘IXX Joideyo Ssuoneoyiseds 92g 
wWooY IY} 0} AWTENpIAIpuyT seats) UOTeIOIIG [INUIIS 


I ALV Id 


sess coor eee 


CHAPTER XIV 


HOW TO DECORATE WITH STENCILS 


HAT gives one more satis- 

faction than individual deco- 

ration in the home? It is this 
eagerness for something different, for 
something one’s “very own,”’ that brings 
complete satisfaction. ‘lhe pleasure is 
naturally greatest when these results are obtained 
by one’s own efforts. Little touches here and 
there count for so much in making a home a 
real home. ‘The monotony of stock designs 1s 
thus eliminated. One does not relish the idea of 
stereotyped decorations within the home any 
more than similarity of color schemes for the 
exterior. How depressing are the long rows of 
houses owned by many corporations and rented 
to their employees! It is still more disturbing 
to note this tendency creeping up into more 
pretentious houses, where whole streets are 
made up of buildings exactly similar in ground 
plan and having only slight changes on their 
front eleva- 
tions. 


of the present- 
day handcrafts 
have helped 
raise the stand- 
ard of home 
decoration. 
The art of sten- 
ciling can claim 
a share in this 

bole : , advancement. 
Plate CIX. Even Silk Can Be Stenciled [he desire for 


[ 117 ] 


And so many | 


Plate CVIIT. A Similar 


‘ 


Stencil Can Be Used Effect- 
ively on the Wall 


‘individuality”’ in 


YOUR HOME AND ITS DECORATION 


the home is the direct cause of the present popularity of this form 
of decoration, and the ease with which most satisfactory results 
can be obtained presage its continued use. Stenciling is, indeed, a 


most pleasant occupation. It 1s 
the means of making such a 
variety of useful articles. Cur- 
tains and portieres with attract- 
ive stenciled borders matching 


ea 


ALT d 


Plate CXI. An Attractive 


Stencil Border 


\ 


i ; 3 
$ 4 - 
by = 


the wall dec- 
orations, 
table throws, 
pillow 
covers, bags, 
and other 
Christmas 
gifts all come 
within its 
ran g en A Plate CX. A Pillow Cover with Simple 


“ Stencil Design 
simple de- 
scription of this interesting pastime might not be 
amiss. ‘lhe various illustrations in this chapter 
represent some of the possibilities 1 in stenciling. 
Whether for a curtain, portiere, or pillow 
cover, the operation is practically the same. 
The fabric is first stretched very smooth over 
white blotting paper or pieces of newspaper, and 
fastened firmly to a drawing-board or table-top 
with thumb tacks or large pins. After selecting 
an appropriate design it 1s necessary to make 
careful measurements, in order that the repeat 
of the stencil will meet properly at the corners 
or fit the piece to good advantage. A soft pencil 
line or basting thread will serve as a guide line on 
border patterns. Sherwin-Williams Stencil 
Colors are of the exact consistency for stenciling, 
and only require the addition of one-tenth part 
stencil medium in order that the completed work 
may be “fast’’ and withstand soap-and-water 
washing. Stencil white can be added in reduc- 
ing any of the colors or combination of colors. 


[ 118 ] 


HOW TO DECORATE WITH STENCILS 


Dip the stencil brush into the colors, which have first been thor- 
oughly mixed with the medium by means of a spatula or small 
knife, get the brush thoroughly filled and scrape off all superfluous 
color, then proceed to stencil. Better results are obtained by tap- 
ping or pouncing than by brushing on the color, and it is usually 
best to try out the color on a waste piece of the fabric in order to 
obtain the proper color before proceeding with the actual work. 
Turpentine or benzine should be used for cleaning both stencil and 
brushes. 

This operation is practically the same for wall decoration, 
which can be accomplished with equal ease. The same designs 
can be used with good effect on walls, curtains, and portieres, thus 
connecting the entire scheme. 

The colored illustration at the head of this chapter will show 
to the reader the effect of a stenciled wall. ‘This rose stencil is 
extremely attractive in combination with the green wall and white 
enamel woodwork. A white enamel iron bedstead can be used 


Za A) wr sci 
Plate CXII. A Wisteria Stencil Used on Both Frieze and Curtain 


[ 119 ] 


YOUR HOME AND ITS DECORATION 


effectually here, although the special furniture shown lends indi- 
viduality to the room. A light shade of silver gray was used on 
this floor, and such a stain has a tendency to subdue the yellow 
tones of the natural finished floor. Complete specifications for 
this room may be found in Chapter XX. Several other color plates 
in this book illustrate stencil effects on walls and fabrics. The other 
illustrations shown in this chapter represent some of the many 
beautiful articles which can be decorated by means of stencils. 
Curtains are particularly attractive, and when treated with the 
proper colors can be placed in one’s regular wash without the 
slightest injury. 


(3120 4 


CHAPTER XV 


PROPER PROTECTION FOR THE EXTERIOR 


© matter whether the home ts situated in some closely con- 

gested section of a large city or on some lonely spot in the 

country or on the sea shore, great care should be exercised 
in selecting the painting materials to be used in beautifying and 
protecting it. Ihe exterior of a home is conspicuous at all times 
to strangers and passers-by, and for this reason as well as many 
others it should be painted with a view toward color harmony, good 
taste, and protection. The latter, although often apparently lost 
sight of, is really the most important of all, for the reason that 
wooden surfaces require protection from the rain, wind, and rough 
weather. Paint has excellent protective qualities, provided that 
it is properly mixed and contains none but the very best paint 
materials. For the benefit of those who are interested in learning 
to discriminate between good paint and bad paint, good surfaces 
for painting, and bad surfaces for painting, we give here some 
information which has been acquired only after many years of 
actual contact with painting problems and conditions. 

Much has been said and written of late with regard to the con- 
ditions under which paints do or do not produce satisfactory results. 
But, notwithstanding this, there still seems to be manifest a great 
deal of disregard for every rule which should govern the application 
of paint to any surface. It is for this reason, and for the purpose 
of throwing a little light on this subject, that we call attention here 
to a few fundamental principles and to a few specific directions 
for the treatment of some particular character of surfaces. If satis- 
factory results are to be obtained from outside painting, no matter 
what the material used, these principles should be considered in 
the application. 

It is a well-known fact that conditions surrounding painting 
are yearly becoming more difficult to meet, for several reasons. 
First, the character of lumber now being used for many so-called 
first-class structures is in reality the forest culls left standing on 
the stump or unmilled when the prime timber was taken off only 
a few years ago. A great deal of such timber is sappy, full of wind 


[ 121 | 


YOUR HOME AND ITS DECORATION 


shakes, knots, and is frequently soft and “punky” through long water- 
logging or partial decay. Again, on account of the scarcity and 
high price of good lumber suitable for proper painting, many varie- 
ties of woods are being used for exterior siding which only a few 
years ago were regarded as wholly unfit for such use. Among 
these varieties we might name the yellow and other hard pines, 
spruce, cypress, cedar, basswood (linn), gum, redwood, and other 
similar woods, which are either full of rosin and pitch, or are very 
soft and spongy by nature. In addition to the above reasons, we 
might also mention the prevailing scarcity of properly seasoned 
lumber. 

Much of the lumber that is employed 1s either so full of sap or 
moisture that it is bound to make any paint peel as soon as the 
moisture is acted on by the sun. Again, other lumber has been so 
excessively kiln-dried that it is as absorbent as a sponge, and unless 
paint applied to it has been well thinned with pure linseed oil, with 
the addition in some cases of pure spirits turpentine to assist in 
penetration, and thoroughly brushed out, in thin even coats (not 
flowed on with a wide brush in thick heavy coats, as it is so fre- 
quently done), the soft, extra-dry surface soon soaks up the liquids 
entirely and leaves the film of the pigment with an insufhcient 
amount of oil to enable it to bind to the surface, and here, again, 
peeling is very likely to ensue. 

Very frequently no thought is given the proper thinning of 
paint to be used on yellow pine or similar woods “‘fat”’ with rosin, 
and paints are “regularly” applied to such surfaces with the result 
that the action of the sun on the outside of the paint film soon draws 
the pitch out of the lumber, and the full oil coat of paint, lacking 
penetration, can do nothing else but lose its adhesiveness and peel 
off—a result which might have been avoided by the intelligent 
use of pure spirits of turpentine in connection with pure raw lin- 
seed oil for thinning the first and second coats. 

Another serious menace to good results in painting comes from 
the unintelligent application of any paint, whereby, on old work, 
one coat is required to do the work that should properly be done 
by two, or, in the case of new work, two coats are made to do the 
work of three. ‘Io accomplish this, the paint is flowed on with a 
wide wall brush in heavy coats instead of being properly thinned 
and then well brushed out in thin even coats with a smaller oval 
brush, thus allowing the paint to not only fill the absorbent surface 


ea ph 


PROPER PROTECTION FOR THE EXTERIOR 


but also to retain a sufhcient amount of oil in the pigment film to 
bind thoroughly and withstand the destructive action of the ele- 
ments. We desire, therefore, to emphasize what is a well-accepted 
truth, viz: The paint should be thinned properly and then brushed 
out thoroughly. Better, by far, to have paint thinned with pure 
linseed oil and spirits turpentine and brushed out too thin to cover 
well than to flow on thick coats of heavy paint, which temporarily 
look better, but very soon are likely to induce cracking, peeling, 
etc., and forever after prevent the surface from being properly 
repainted unless all of the heavy undercoating is burned off or 
otherwise removed. 

Let it be remembered, then— 

First, That to insure good results on new or very old, spongy 
surfaces, there must be sufhcient pure raw linseed oil used in the 
first and second coats of any paint to properly fill the wood and 
arrest the absorption of the oil and binder from the paint film, and 
still leave enough oil to bind the pigment thoroughly, and that 
where any new surfaces are hard and resinous, a liberal percentage 
of pure spirits turpentine must be added in first and second coats 
to insure adequate penetration and assist the drying to a proper 
“face’’ or surface for recoating. 

Second, That on old work that has been previously painted and 
presents a hard impervious surface, equal parts of pure spirits 
turpentine and pure raw linseed oil must be used in reducing the 
first coat to a thin consistency, to secure proper penetration and 
homogeneous drying of the new coat of paint. 

Third, That “elbow grease’”’ must be used to spread any paint 
out into thin coats and brush it well into the pores of the wood, and 
unless so spread, satisfactory results cannot be insured. 

Fourth, That a much more satisfactory and durable job of work 
can be done with a 5-0 or 6-0 round or oval brush than with a long, 
wide wall brush. 

Fifth, That under no circumstances should a new house be 
painted before wet basements or the plaster have dried out. It 
should be borne in mind that every yard of green plaster contains 
nearly a gallon of water, and unless thorough ventilation 1s given 
and the moisture is allowed to evaporate and escape in that way, 
it must necessarily escape through the siding (which may have 
been thoroughly dry when put on), and the result must inevitably 
be blistering or peeling. 


[ 123 ] 


YOUR. HOME VANDATITSE DECOR gO. 


Sixth, That painting during or following soon after a dew or 
heavy frost or fog, or in any heavy damp atmosphere, is likely to 
produce unsatisfactory results, as dry siding absorbs moisture very 
rapidly. 

Seventh, Vhat, to the greatest extent possible, painting in the 
direct heat of the summer sun should be avoided. Paint on the 
shady sides of a building as much as can be done. 

Eighth, Painting around fresh mortar beds should be avoided, 
on account of the tendency of the oil in any paint to absorb the 
moisture and fumes from the lime, destroying the life of the oil 
and causing the paint to flat out and perish. 

Ninth, Not to apply one coat of paint and let that stand a year 
or so before a subsequent one is applied. It will have weathered 
sufficiently in that time to absorb some of the elasticity of the 
succeeding coat, so that the final result cannot be so satisfac- 
tory. 

Tenth, Again, a coat of paint should not be applied and allowed 
to stand until it is bone hard before continuing the work. One 
coat should follow another within reasonable time, until the work 
is finished. If the under surface is allowed to get too hard, it will 
not have the proper “tooth’’? which would allow the succeeding 
coat to get a “grip” or hold on it. 

Eleventh, Vhat leaky roofs and gutters and broken-down spouts 
are responsible for many a case of blistering or peeling which might, 
without investigation, be attributed to the paint. 

Twelfth, That it is always best to employ a practical and well- 
experienced painter, who is capable of exercising right judgment 
with reference to the proper painting of any particular surface, and 
who is interested in turning out a properly finished piece of work, 
even at a somewhat higher cost, rather than to entrust the job, at a 
lower price, to a workman who cannot be thoroughly depended 
upon. 

Thirteenth, That yellow ochre and mineral reds, such as vene- 
tian, iron ore, and other oxides, as well as Prince’s mineral, etc., are 
totally unfit for use as primers on any work which will be subse- 
quently coated with lead and zinc colors, for the reason that when 
mixed dry they do not combine readily with linseed oil, and many 
of the particles, unless ground, are never thoroughly saturated— 
the result being that, after being applied to the surface, the absorp- 
tion of the oil by such particles and the surface to be painted leaves 


[ 124 ] 


PROPER PROTECTION FOR THE EXTERIOR 


the film of ochre or oxide, without any binder, brittle and lifeless. 
The result is perishing and peeling. 

Again, on account of the character of the pigments named, they 
are very difhcult to spread of uniform consistency over any large 


To secure the best results from 8. W. P., or any other good prepared paint, 
it must be properly mixed. ‘The illustrations and their explanations tell how 
to mix S. W. P. properly and in the least time. 


4 


Stir the pigment and re- 
maining oil with a strong, 
smooth paddle that is of 
a shape which will admit 
of getting around the 
edges and bring up all of 
the pigment. Do this 
until the mass 1s smooth 
and entirely uniform 
throughout. 


Begin returning the sur- 

plus vehicle a little at a 

») time, until all has again 

ie) been added, stirring con- 
stantly. 


Cut out the whole top. 


6 


Then “box” the paint— 
that is, pour it back and 


Pour off into another forth from one pail to 


package at least two- 
thirds of the vehicle that 
has raised above the pig- 
ment. 


another from half a dozen 
to a dozen times, each 
time leaving about one- 
quarter of the paint in 
the pail which is being 
emptied. 


YOUR HOME AND ITS DECORATION 


amount of surface, and for that reason, as well as to meet a demand 
for a “good heavy priming coat,”’ are frequently applied in a very 
heavy strata which, if allowed to become perfectly hard, presents 
such an impervious surface as to prevent the proper adhesion 
of later coats of paint. 


CONCRETE AND CEMENT FINISHES 


The comparatively recent advent of reinforced concrete 
and cement building construction has opened up a new field 
for painting materials that has not heretofore been explored. 
This has presented some new problems which could not be 
solved except with specially prepared finishing materials. After 
much investigation and practical tests, it has been found that a 
first coat of weatherproof coating should be applied to the 
concrete. [his material thoroughly seals up the porous surfaces, 
making them satisfactory for the application of subsequent coats 
of paint and at the same time does not weaken the bond of the 
cement. 

The surface is then ready for the finishing coat, S-W Concrete 
and Cement Finish. ‘This coating is prepared in several attractive 
shades, all of which approximate the natural cement in color. 
They are light gray, slate, dull gray, green, stone, and light drab. 
The use of such a coating as has been referred to obliterates all 
form marks, dirt stains, and other irregularities of the surfaces and 
at the same time enables the original character of the surface to be 
preserved. Working specifications may be found in Chapter 
XXI, specification No. 6. 

On many of the English style of homes and concrete homes 
illustrated in this book a stained exterior finish for the wood trim 
has been used. Such a finish is most appropriate in combination 
with concrete or stucco, and the rich brown stains are invariably 
selected. A most durable finish of this kind can be obtained by 
following specification No. 7 in Chapter XXI. 

Frequently a stain is desired on cement or stucco itself which 
does not alter the general appearance. For such treatment S-W 
Cement and Stucco Stains are provided. Only one coat of this 
material is necessary unless the surface is badly soiled and spotted, 
when two coats may be applied. On cement and stucco exteriors, 
however, which have a smooth finish a first coat of Water Proof 


Cement Primer should be applied. 
[ 126 ] 


PROPER PROTECTION FOR THE EXTERIOR 


EXTERIOR VARNISH FINISH 


A varnish surface which is exposed to the weather must be of 
exceptional quality whether it is directly exposed or not. Con- 
stant dampness will seriously affect any material of inferior quality. 
Even the porch ceilings must be finished with a varnish exactly 
suited to the purpose. (Specification No. 3.) The greatest 
care should be exercised in selecting materials for the exterior 
doors. ‘The stains must be non-fading and the varnish must form 
a thoroughly impervious coat. Exterior doors are usually of oak 
stained in any of the Handcraft Browns, ranging from Fumed (a 
light reddish brown) to the Cathedral (a dark brown) or Antwerp 
(a dark greenish brown). Specification No. 4 can be used for 
finishing any of the open-grained woods mentioned in Chapter 
XVI. Birch and maple are occasionally used for exterior doors. 
These woods are also described in Chapter XVI and the directions 
for finishing them may be found in specification No. 4a. 


BEAUTIFUL SHINGLE EFFECTS 


The popularity of the bungalow and suburban home has estab- 
lished a demand for artistic exterior effects. Preservative Shingle - 
Stains have played no small part in supplying this demand, and 
their wide use is due, primarily, to their preservative qualities, and, 
secondly, to the many beautiful decorative effects that are made possi- 
ble by the rich reds, browns, greens, and other attractive shades. 
Shingled houses offer unusual opportunities for good taste in their 
exterior finishing, and they lend themselves readily to shades which 
harmonize with surrounding foliage and verdure. S-W Shingle Stains 
are peculiarly adapted to assist the owners of country homes in 
obtaining a suitable protective and decorative coat. (Specification 


No. 2.) 


GENERAL EXTERIOR PAINTING MATERIALS 
In addition to S. W. P. and Preservative Shingle Stains, [he 


Sherwin-Williams Company manufactures paints and varnishes 
for every imaginable exterior surface,—roofs, gutters, exterior doors, 
porch floors, and many similar surfaces that require great care in 
the selection of proper finishing materials. ‘These surfaces require 
special paints and varnishes, each the result of years of experiment- 
ing and tests. The first specifications given in Chapter XXI explain 
the application of these various materials. 


[ 127 ] 


CHARGER ay 


WOODWORK AND ITS TREATMENT 


HE beauty of wood is marred or enhanced by its treatment. 

What is more universally admired than properly finished 

wood, whether in furniture, woodwork, or floors? With 
such wonderful variety of grain, almost magically treated with 
modern stains and finishes, its natural beauty stands revealed. 
Each kind, with its peculiar characteristics, requires special treat- 
ment; in ance to bring out this true beauty, not only the kind of 
finish but also the color must receive careful consideration by the 
home builder. 

So much depends upon the woodwork treatment in successful 
home decorating. Some woods are best adapted to stained effects, 
some especially suited to white enameling, while the greatest degree 
of beauty is brought out in others by the natural varnished finish. 
Only the expert finisher can have a full knowledge of wood and 
its proper treatment; nevertheless, every home builder can, and 
should, be familiar th the kind of finish adaptable to the most 
widely used woods. 

In Chapter IV this subject, in its relation to home building and 
decorating, was treated in a general way and only the simple laws 
and principles were defined. ‘This chapter contains the more 
detailed information, and is designed to assist the home builder in 
the proper application of these principles. ‘The most popular 
woods used in modern building are described, their important 
characteristics outlined, and the most artistic and practical method 
of treating them explained in detail. Frequent reference is made 
to the complete working specifications in Chapter XXI. By con- 
fining these specifications to one chapter, they will be found most 
accessible and at the same time easily associated with the following 
descriptions of the different woods. 


OAK 


Because of its great durability and handsome grain, oak is the 
most popular wood for all kinds of interior trim. ‘This wood, either 
straight grained or quarter sawed, is susceptible of a greater variety 


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WOODWORK AND ITS TREATMENT 


of handsome effects by 
staining than any other 
wood. 

Oak wood is extremely 
tough and durable. It 
is found on all of the con- 
tinents of the northern 
hemisphere as well as at 
high altitudes just south 
of the equator. The sev- plate cxIv. Showing the Method 
eral kinds are commer- of Quartered Oak Sawing 
cially divisible into three general groups, white 
oak, red or black oak, and live oak. White and 
red oaks are used for interior woodwork, furniture, 
floors, etc.; while live oak is heavier, harder, and 
tougher, and, therefore, used for shipbuilding, 
implements, wagons, tool handles, etc. When 
used for interior woodwork or other interior pur- 


Plate CXIII. Quartered a | ra 
Oak poses, it is frequently quarter sawed. This is 


done in various ways, that most approved being to cut the quarter 
in two equal parts from the pith to the bark and then to saw off 


boards by cuts parallel to the bisecting section. 
Plate CXIV illustrates this method. Plain oak 
cutting is shown in Plate CXV. 

Oak wood lends itself admirably to many styles 
of finishing. It is open grained, and when a var- 
nished and rubbed or polished finish is desired the 
pores of the wood must be filled and followed 
with various coats of varnish. When a mission 

or wax finish is desired, 
the filler is unnecessary. 
The natural finish, in 
which transparent filler 
and no stain are used, and 
the golden oak finish have 
been in use for a long 
period and are now rather 
commonplace. The 


Plate CXV. Showing the Method eet popular shades in [ cima 
of Straight Oak Sawing the stained oak are the Plate CXVI. 


4 


Plain Oak 


[ 129 ] 


YOUR HOME. AND ITS DECORATION 


fumed oak (a rich brown, light in tone), old English oak (a medium 
tone of rich brown), cathedral oak (a dark, reddish brown), early 
English oak (weathered brown in medium tones), and silver gray 
(light silvery effect); these effects are all found in Handcraft Stains, 
and any or all of them can be treated in the rubbed, polished, mission, 
or waxed finish. Complete working specifications for these various 
finishes are as follows: Mission finish using any shade of Handcraft 
Stain (specification g); waxed finish in any shade of stain (specifi- 
cation 10); rubbed finish (specification 14); natural finish (specifh- 
cation 12). 

Oak, on account of its open grain, can be treated in Handcraft 
system effects, which consist of a stain, a first coater, and a color toner. 
The rich colors of this stain blend perfectly with the toner, which fills 
up the wood pores and forms an unusual effect. Working specifica- 
tions for this finish will be found in specification 41. Oak wood 
has many peculiar qualities which demand stains of exact character 
and quality. It contains gallic acid, which attacks stains of un- 
suitable nature. Handcraft Stains are particularly adaptable to 
use on oak. ‘They are not affected by the wood acids, and by thor- 
ough penetration accentuate the beauty of the grain. 


CHESTNUT 


ah 
3 


Chestnut is an open-grain wood, the pores of 
which require filling for varnish and rubbed 
effects. Plate CX VII illustrates its rather coarse, 
although attractive, grain. Being less expensive, 
it frequently displaces oak for interior woodwork. 
It is found in the temperate regions of Europe, 
Northern Africa, Eastern North America. ‘The 
Northern American wood is better and, although 
easily worked, is extremely durable. ‘The west- 
ern species of chestnut is called the California 
chinquapin. It is a light, soft, reddish wood 
and is sometimes called evergreen chestnut. 

Chestnut can be treated practically the same as 
oak, although it is more frequently stained and 
finished natural. Handcraft silver gray (a silvery 
gray with bluish cast) or brown oak are partic- 
ularly suitable for use on this wood. The rubbed, 
Plate CXVII. Chestnut mission, waxed, and natural finishes can be 


[ 130 ] 


WOODWORK AND ITS TREATMENT 


obtained on chestnut, and the specifications are 
similar to those for oak. Chestnut is another 
wood which is capable of Handcraft system 
finishing, because of its attractive open grain. 
(Specification 41.) 

ASH 

Ash is somewhat similar to oak and is sus- 
ceptible to similar stained effects. It is used 
frequently for interior woodwork and for the 
cheaper grades of cabinet work. It is widely 
distributed over the temperate regions of the 
northern hemisphere and is also found in the 
tropics and on the island of Cuba. ‘There is a 
tradition of old Pliny’s time that serpents avoid 
ash trees and that the ash is particularly liable 
to be struck by lightning. 

Ash is coarser, less attractive, and lighter than 
oak. It is open grain and therefore requires 
filling for rubbed or polished finishes. The © 
various species are white, brown, black, and Plate CXVIIL. Ash 
southern green ash. The grain of ash wood is not as attractive 
as oak, but when properly stained, its beauty 
is much intensified. White and black ash are 
used most frequently for interior finish. Ash 
may be filled with Transparent Filler and 
hnished natural (specification 12); it also lends 
itself admirably to staining and can be treated 
in mission or waxed finish. Its proper work- 
ing specifications are as follows: Natural 
finish (specification 12); rubbed finish (specif- 
cation 14); waxed finish (specification 10); 
mission finish (specification 9Q). 


MAHOGANY 


Mahogany is one of our most beautiful and 
valuable woods for furniture and interior finish. 
Its decorative value is due to a combination of 
beauty, working qualities, and durability. Its _ 
beauty is influenced by its wonderful grain, 


Plate CXIX. Straight particularly noticeable in “crotch mahogany,”’ 
Mahogany 


[ 131 ] 


HOME AND ITS DECORATION 


Plate CXX. Crotch Mahogany 


much of our supply coming from Mexico. ‘The 


and also by its rich brown color. 
These qualities are greatly in- 
creased by Handcraft staining. 
Mahogany is an open-grained 
wood and therefore requires filling 
(Mahogany Paste Filler). It is 
susceptible to the highest polish 
(see specification 16a), and is also 
very attractive when given a dull 
finish by rubbing the last varnish 
coat with pumice-stone and water. 
Our illustrations show both the 
straight-grained and the “crotch 
mahogany.”’ ‘This latter grain is 
caused by the crotches or junc- 
tures between branch and trunk, 
and on account of its great value 
is used largely as a veneer,—ma- 
hogany is a native tree of the. 
West Indies and Central America, 


African field is the latest, and large quantities are 
now being distributed through English markets. 
‘This wood is occasionally treated in a natural 
finish. It darkens slightly with age, and this 
tendency should be taken into consideration when 
staining. A variety of shades in mahogany stain 
are demanded, and therefore Handcraft mahog- 
any stains are provided in light, medium, and 
dark. Any one of these shades can be reduced, 
as desired, by means of Handcraft Stain Reducer. 


WALNUT 


Walnut is one of our finest and largest timber 
trees. Until about 1880 this wood was extremely 
popular, when oak gradually resumed its place as 
a cabinet wood. ‘The color of this wood varies 
from light to dark brown. It is heavy, tough, 
and not liable to the attacks of insects. Its beau- 
tiful grain is open and requires filling. It is 


[ 132 ] 


Plate CXXI. Walnut 


WOODWORK AND ITS TREATMENT 


prized above mahogany for furniture by many. Walnut is becoming 
very scarce, and even for furniture and gun stocks,—its most 
important uses,—other woods are taking its place. It is most 
frequently finished with a filler matching the color of the wood, 
which produces a most rich effect. Handcraft walnut stain gives 
an excellent imitation of this wood when used on birch. 

The use of walnut wood for gun stocks began in Europe, the 
demand increasing so rapidly that in England the price of six 
hundred pounds sterling is reported to have been paid for a single 
tree. 

Circassian walnut differs from common black walnut, in that the 
color is not solid. Its beauty lies in the beautiful streaks of brown 
and black in the grain. Just at the present time Circassian walnut 
furniture and woodwork are extremely popular. 

It is being largely imitated by staining 
quartered gum wood. Gum wood is used for the 
structural parts of much Circassian furniture. 


BIRCH 


This is a most popular wood for furniture and 
interior finish. It is heavy and strong. Its color 
is avery light reddish brown, and it has a fine,com- 
pact grain, which is extremely beautiful. [tis com- 
monly stained walnut, cherry, or mahogany, to all 
of which Handcraft Stain lends itself admirably. 
Handcraft silver gray is a very attractive finish 
for birch (specification 15). It can also be fin- 
ished natural (specification 13). As a foundation 
for white enamel effect, it is unsurpassed. Its 
light color and delicate grain make it suitable for 
this purpose (specification 18). Birch is less 
expensive than oak, but superior in many ways. == *Ssisiiaibauleties 

The illustration (Plate CXXII) is too small to , Plate CXXIL- Birch 
show the darker spots, which are even more pronounced when the 
wood is stained mahogany. These variations of the grain are 
extremely attractive. Birch is a close-grained wood and does not 


require filling. 


MAPLE 


The maples are distributed over all of the continents of the 
northern hemisphere. ‘They are fine grained and of compact texture, 


[ 133 | 


YOUR HOME AND WTS, DECORATION. 


and form. one of our most beautiful cabinet 
woods. One peculiarity of this wood 1s its fiber 
distortions, which cause the attractive 
“bird’s-eye,” “blister,” and “curly”’ effects. 

Maple is a very strong and tough wood, 
which shrinks moderately and is durable when 
placed in protected positions. It is used for 
interior finishing, flooring, furniture, and also 
for car and ship construction, implements, etc., 
where its strength is very essential. “This wood 
is capable of many styles of stain and varnish 
finishing. It was first treated in a natural 
finish most frequently, but is now seen in ma- 
hogany, cherry, and silver gray, all Handcraft 
effects. Being a close-grained 
wood it does not require 
filling. 

The white tones of maple 
do not affect the gray 
stains which are so often 
changed greatly by the yellow undertones 
of oak, pine, and other yellow woods. Handcraft 
Stain silver gray produces a very artistic effect on 
this wood (specification g). Maple 1s frequently 
stained Handcraft mahogany and cherry. It 
lends itself admirably to these effects (specif- 
cation 15). 

Floors of maple finished with Mar-not 
are very durable and_ lasting  (specifica- 
GUS) 2255 93cm | 


Plate CXXIII. Maple 


CHERRY 


The wild cherry tree supplies the cherry wood 
of commerce. This wood is strong, hard, red- 
colored, and one of the most popular decorative woods of the 
American forests. It can be readily stained Handcraft 
mahogany (specification 16), and is very beautiful when 
finished natural (specification 13). Cherry wood is close 
grained and does not require filling. It is capable of taking 
a very high finish. (Specifications 13 and 15.) 


Plate CXXIV. Cherry 


[ 134 ] 


WOODWORK AND ITS TREATMENT 


SOUTHERN PINE 


The principal difference between this wood 
and white pine is in the grain, which is more 
strongly marked in Southern pine. This wood 
is heavy, hard, strong, and durable, becoming 
harder with age. It is close grained and does 
not require filling. 

When Handcraft stained, the beauty of this 
grain is greatly enhanced, and it now frequently 
displaces oak for interior trim. All Handcraft 
brown stains are particularly attractive on South- 
ern pine. The silvery grays are quite effective, 
although the yellow tones in this wood largely 
overcome the blue in a silver-gray stain. These 
stained effects are still more attractive when treated 
in mission or dull finish with Mission-lac (specifi- 
cation g), or Velvet Finish Varnish (specification 
11). Southern pine is often finished in white 
enamel, although it is not the best wood for 


"Fie CXXV. Southern 
Pine 


the purpose. Birch, whitewood, or poplar are much less liable 


WHITE PINE 


to show yellow streaks. Southern pine, however, 
can be treated in white enamel when a sufh- 
cient number of the proper undercoatings are 
used. When this wood is full of pitch a first coat 
of shellac can be applied to good advantage. 
Flat-tone white is particularly suited to such 
work, and when followed with Enamelastic will 
produce a perfect surface. “The following speci- 
fications should be used: For Enamelastic Dull 
Finish, specification 19; for Enamelastic Rubbed 
Finish, specification 18; for Enamelastic Gloss 
Finish, specification 17. For less expensive 
white enamel work, Enameloid can be used. 


White pine is a tree very common in 
Northern United States and Canada. _ It 
reaches a good size in favorable soils, and 
furnishes a light, soft wood with close, straight 


Plate CXXVI. White = grain, which does not require filling. Its color 


Pine 


[ 135 ] 


YOUR HOME AND ITS DECORATION 


is a faint yellowish white, and its abundance, the ease with which 
it can be worked, and its power to hold glue, make its use very 
extensive. It is commonly finished natural (specification 13), but 
will take any Handcraft Stain very satisfactorily 
(specifications 9, 11, 15). White pine is fre- 
quently used under white enamel, and is even 
more satisfactory for this purpose than yellow 
pine. (See specifications 17, 18, 19.) 


CYPRESS 


This tree grows in the swamps of the South. 
It furnishes most valuable wood because of its 
durability, claimed to be superior to that of other 
woods. It has always been used to a large extent 
for exterior work where it is exposed to the 
weather, and only since suitable stains have 
been provided has it been used for interior 
trim— Handcraft Stains penetrate the soft parts 
of its grain and emphasize the 
harder streaks, giving it a most 
attractive appearance in all 
parts of interior woodwork. 
Even doors and wainscotings 
take on a most satisfactory appearance when 
stained in such browns as Cathedral, Old English, 
Weathered, and Fumed, although any other 
Handcraft Stains can be used. It is a close- 
grained wood and therefore does not require 
filling. Specification 15 should be used for the 
stained effects and 13 for a natural finish. The 
velvet finish, which closely approximates the flat- 
rubbed effect, is particularly attractive on cypress 
(specification 11). The Mission finish in speci- 
fication g can also be used on this wood. 


Plate CXXVII. Cypress 


GUM 


There are three kinds of gum wood—sweet : 
or ‘red. gum, sour or black*gum; and’ cotton #40" Se 
gum. ‘lhe former is the only one used for interior work. When 
quarter cut, it resembles Circassian walnut so closely that these 


[ 136 ] 


WOODWORK AND ITS TREATMENT 


two woods are frequently used together in furni- 
ture. Plate CX XVIII shows the interesting dark 
streaks running through this wood. Sweet or red 
gum 1s close grained and does not require filling. 
It can be stained walnut or mahogany effectively 
by using specification g. ‘This wood is fre- 
quently treated natural, and when quarter cut, 
its grain produces effects equal in beauty to 
many more expensive woods.—Specification 13 
gives the natural finish. White enamel can be 
produced satisfactorily over 
gum wood. 


WHITEWOOD-——POPLAR— 
COTTONWOOD 


These trees are not related, 
but all have similar qualities 
and uses. The illustrations 
show great similarity of the 
grain, which is close in each 
case and does not require fill- 
ing. They are frequently used 
forinterior woodwork, wooden- 
ware, and paper pulp. White- 
wood is particularly suitable 
for carvings, while all three 
woods are used for interior 
woodwork. ‘The fact that 
these woods are all rather light 
in color and have no _pro- 
nounced grain makes them especially suitable 
for white enamel woodwork. ‘They have less 
tendency to yellow streaking than yellow pine, 
although good undercoatings are essential. ‘The 
white enamel specification is 18. At the same 
time these woods can be finished natural satis- 
factorily (specification 13). By staining white- 
wood Handcraft Stain mahogany, a fair 
representation is obtained because of the absence 
of strong grain. (Specification 15.) 


fraayi 


Plate CXXX. Poplar 


Plate. CXXIX. 
Cottonwood 


Plate CXXXI. 
Whitewood 


YOUR HOME AND ITS DECORATION 


Plate CXXXII. 
Sycamore 


Plate CXXXIV. Fir 


SYCAMORE 


American sycamores are frequently very 
large. The lumber is fine cross-grained, is 
reddish-yellow in color, rather difficult to work, 
but, nevertheless, valuable for cabinet work and 
small articles. Sycamore is used for interior work 
and may be Handcraft stained or finished natural. 
The California sycamore is more largely used 
for these purposes. Being close grained, it does 
not require filling. (Specifications g, II, 15.) 


pa 


SPRUCE 


This tree is sometimes 
called white fr. Itis abundant 
in North America and also 
grows on the mountain slopes 
of Europe. Its wood is white 
in color, even grained, soft, 
and light. It is used chiefly 
for indoor work, but on ac- 
count of its numerous 
knots is rather hard to 
work. It can be readily 
stained or finished natural. 
Stained (specification 15), 
natural (specification 13). 
The following specifications 
should be used for finishing 


spruce, floors: 225823 go Oreos, 
Plate CXXXIII. Spruce 


FIR 


Fir wood resembles spruce and pine in 
appearance and structural qualities, these woods 
being often confused. Fir wood has a close 
grain which does not require filling. It stains 
beautifully, and is being used more largely for 
interior work on this account. The hard parts 
of its grain appear in beautiful contrast to the 
softer parts when Handcraft stained (specifica- 


[ 138 ] 


WOODWORK AND ITS TREATMENT 


tion 15). It can be treated natural and is most 
attractive when finished in mission or dull effect. 
These specifications are as follows: Natural 
finish, specification 13; mission finish, specifi- 
cation g; velvet finish, specification 11. 


REDWOOD 


‘The redwood tree is a native of California 
and is noted for its enormous size. Its wood is 
soft and light, of reddish-brown color. It is a 
durable wood, and, on account of its size, can 
be used in large construction. It is close grained 
and does not require filing. 

It is used extensively for shingles and also 
for interior wood work. Occasional pieces in 
which the grain is distorted are called curly red- 
wood and used for costly interior decoration. 
Redwood can be finished natural with beautiful 
effect (specification 13). It is also a good imita- 
tion of mahogany when properly stained (specifi- 


[ 139 ] 


Plate CXXXV. 
Redwood 


cation 16). Woodcraft cherry stain is also satisfactory on this wood. 


CHAPTER XVII 


THE TREATMENT OF SIDE WALLS AND CEILINGS 


[oer words ‘Painted Wall”? immediately call forth visions 


of the glossy walls grandmother used to have in the kitchen. 

This same old prejudice against such a finish arises when 
the wall and ceiling treatment for other rooms in the house is under 
consideration. But, fortunately, this prejudice is rapidly disap- 
pearing, and with good cause. ‘The painted or, rather, decorated 
wall of to-day is not the kitchen wall of old. ‘The painted wall 
does not necessarily mean the glossy finish with the sky-blue color, 
but rather the soft velvety and rich effect which can be obtained 
in any color desired, to match any fabric made, which is sanitary, 
wholesome, and surprisingly durable. One need but study the 
decorations of our most expensive dwellings to determine the prac- 
ticability of the painted or — using a more proper term — deco- 
rated wall. ‘These delightful finishes with their delicate stencil 
decorations are becoming very popular, and now that they can be 
more readily obtained, their use will be greatly increased. 

The question of wall treatment is one which should receive first 
consideration in home decoration. It is the foundation upon which 
all other decorations are based. Some of the qualifications of a 
good wall are as follows: (1) It must conform to the general 
scheme of the room in color and design; (2) it must be restful to 
the eye, and not too prominent; (3) it must form a perfect back- 
ground for pictures. Over-decorated walls and wall-papers de- 
signed in scrolls and glaring decorations are to be avoided. Plain 
effects form an important factor in the general scheme of a room 
and are gaining in popularity. ‘The ideal plain wall is unques- 
tionably the painted one and such a wall is most adapted to stencil- 
ing. Walls are best when treated with a rich flat finish which can 
be washed readily with soap and water without losing their original 
beauty. With such a foundation to work upon, the most satis- 
factory and lasting results are assured. Neither whitewash nor 
water-paint are permanent enough to justify stencil decoration. 

The decorated wall does not necessarily demand a costly foun- 
dation, in fact, equally attractive results can be obtained on rough 


[ 140 ] 


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TREATMENT OF SIDE WALLS AND CEILINGS 


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Plate CXXXVI. The Ideal Plain Wall is Unquestionably the Painted One 


-* 


or smooth plaster, as on canvas or other cloth coating. Many 
kinds of fabric are used for this purpose. Prepared decorators’ 
canvas is probably the most satisfactory. ‘This material can be 
obtained in various weaves and weights. Burlap is frequently 
used as a wall coating, and it can be beautifully treated with Flat- 
tone or Flat-tone system. These effects can be obtained on either 
prepared canvas, prepared muslin, or any other fabric regularly 
used by decorators. (Specifications Nos. 33 and 34.) 

There is an increasing demand for rich, velvety, yet durable, 
flat effects in the artistic decoration of interior walls and wood- 
work. The more refined and harmonious the results desired, the 
more necessary it becomes to combine delicacy, richness, and depth 
of color with a flat finish. 

There are many cheap kalsomine finishes on the market which 
aim at this result, and are satisfactory for some of the cheaper classes 
of finish, but which are in no way suitable for high-class work. 
Flat-tone has been made to meet the particular requirements of 


[ 141 ] 


YOUR HOME AND ITS DECORATION 


these higher class, genteel effects in finishing, and is far superior 
to any materials heretofore offered for such work. 

Sherwin-Williams Flat-tone has these important advantages: 
unlike oil paints, it is very finely ground in high-grade Japan liquid, 
is uniform in color, has easy working and good flowing qualities, 
splendid covering capacity, and it does not require stippling to 
insure a uniform finish. It can be applied with a full-size kalso- 
mine brush, leaving an absolutely smooth surface without brush 
marks or laps. It may be washed with soap and water without 
danger of rubbing up or spotting. 

Flat-tone is economical to use, since the line of shades provided 
is very ample, obviating the loss of time required for mixing colors 
to any standard shade. . The various colors of Flat-tone can always 
be duplicated in any quantity. ‘This in itself means a considerable 
saving. Flat-tone is particularly suitable for chambers where its 
soft, restful shades blend perfectly with the simple hangings. ‘The 
stronger colors are designed for use in the living-room, library, and 
dining-room. ‘They form a perfect background for pictures and can 
be treated with simple stencils to good advantage. Working specif- 
cations for Flat-tone on rough or smooth plaster, or any of the 
fabrics mentioned, may be found in Chapter XXI, specification 
Nor33: 

The greatest problem in wall decoration, however, has been to 
produce a flat glaze effect which is at the same time deep, rich, 
and transparent in tone and, when necessary, blended and mottled. 
In addition to these qualities, such a finish, in order to be perfect, 
must be capable of soap-and-water washing. Flat-tone System 
is the solution of this problem. Its greatest advantage lies in the 
fact that it can be made to conform with any scheme of decoration. 
It is a finish that can be blended from light delicate tones at the 
ceiling to dark rich colors at the baseboard. With these valuable 
qualities it is not glossy and is extremely sanitary. Flat-tone Sys- 
tem consists of Flat-tone, Flat-tone Glaze Colors, and Flat-tone 
Glazing Liquid. It is produced by first building up a suitable 
foundation with Flat-tone and following with a thin transparent 
coating of the Glazing Liquid, tinted up to the desired color with 
Flat-tone Glaze Colors. This finish can be applied over smooth 
plaster but is even more attractive when applied over canvas, bur- 
lap, or rough sand-finish plaster. Specification No. 34 will give 
full working directions for this finish. | 


Lar al 


TREATMENT OF SIDE WALLS AND CEILINGS 


‘There are many other wall finishes in which the home builder 
should be interested. The question of durable finishes for the 
bathroom, kitchen, lavatory, etc., is extremely important. ‘These 
surfaces are subjected to such severe tests that only materials pre- 


pared to withstand such conditions should be used. These necessary 


es 


a | 
t 


J 
' 

; 
it 
+ 
‘} 


Plate CXXXVII._ Flat-tone is Particularly Suitable for Chambers 


[ 143 ] 


YOUR HOME AND ITS DECORATION 


qualities need not interfere in the least with the decorative 
effect. White enamels are not necessarily glossy, but when prop- 
erly treated and selected can have the natural dull effect or the 
rubbed finish. Enamelastic is especially suitable for wainscoting 
and walls of bathrooms and lavatories. It is produced in dull, 
gloss, and rubbed finish. Surfaces of this character require artistic 
as well as durable materials. For the kitchen, the glossy surface 
is more satisfactory, and there Sherwin-Williams Enameloid will 
meet with the most exacting requirements. No matter what the 
conditions may be, there is some one of the Sherwin-Williams Wall 
Finishes that will prove satisfactory. (Specifications Nos. 17 and 
17a.) 

Water Paints meet certain requirements in the treatment of 
walls. ‘They are at least inexpensive and their best use 1s for tem- 
porary work. It can be said truthfully that the good quality water 
paints or kalsomines produce an attractive effect, because they are 
soft and flat. The lack of durability as compared to such finishes 
as Flat-tone is the greatest objection to them. Nevertheless such 
a water paint as Decotint has many other advantages. It is very 
easy of application, being prepared in dry powder form, from selected 
whiting and glue, and requiring only the addition of cold water. 
Decotint is sanitary, absolutely non-poisonous, contains no alkali, 
acid, or anything that may be injurious to health. It has great 
covering capacity, one coat being sufficient in most cases. Its colors 
are extremely attractive, ranging from the very delicate ivory, light 
gray or green and shell pink to the strong browns, greens, and other 
such colors used for walls and wainscotings. (Specification No. 35.) 


[ 144 ] 


CHAPTER XVIII 


THE PROPER TREATMENT OF FLOORS 


AV) serena se and painted floors are coming into more 


general use each year in all classes of homes. The change 

from carpeted floors has not been a matter of taste and 
fashion alone. Cleanliness, healthfulness, and economy have had 
probably more to do with it than anything else. ‘The dusty, germ- 
collecting carpet, so hard to keep clean, was doomed to be sup- 
planted as soon as reputable manufacturers began to place good 
floor finishes on the market. 

Quality in floor-finishing material is more essential, perhaps, than 
in any other class of paint or varnish material. Floor finishes are 
subjected to the hardest wear, and, therefore, require a greater 
knowledge and skill in their preparation than any other finish used 
in the home. There is no one floor finish suitable for every kind 
of floor. It is, therefore, extremely important that the right kind 
of material be selected for producing each particular finish, taking 
into consideration not only the kind of wood in the floor but its 
condition. 

On new floors a varnish finish is most satisfactory, while on 
some old floors it would be practically impossible to obtain good 
results with clear varnish alone. On some floors a painted finish 
is best. ‘This chapter is designed for the purpose of bringing out 
all of these points in concise form. Frequent reference will be 
made to the working specifications in Chapter XXI., and also to 
the information regarding wood treatment contained in Chapter XVI. 

VARNISH FinisH. Hardwood floors finished with varnish, so 
as to bring out the natural color and grain of the wood, represent 
the highest class of floor finishes. Such a finish, however, is scarcely 
possible on anything but newly laid floors. An old floor, which 
has stood unfinished, is so marred and scratched as to show up 
badly through the transparent varnish. Such floors are better 
finished with Floor-lac, which material is mentioned in a later 
paragraph of this chapter. Newly laid parquetry floors, hardwood 
floors, or hard pine floors, in music-room, dining-room, reception- 
room, hallway, and stairs, should be treated in the varnish finish. 


[ 145 ] 


YOUR HOME AND ITS DECORATION 


On open-grain wood, such as oak, ash, chestnut, etc., the pores 
should first be filled with paste filler. For the natural finish, trans- 
parent paste filler should be used, and for the darker stained finish, 
antique and golden-oak fillers are more satisfactory. For the 
natural finish, specification No. 21 should be followed. Specifica- 
tion No. 25 has been prepared for the stain finish on these open- 
grained woods. 

Close-grained woods, such as maple, birch, hard pine, and 
sycamore, do not require a filler. “They can be treated in the natural 
finish, or stained. It is not advisable to treat finished floors with a 
finish dark enough to show the dust. Any one of the Handcraft 
Stains can be reduced and used satisfactorily on either open or 
close-grained woods. ‘The following specifications should be used, 
Natural Finish Specification No. 22, Stained Finish Specification 
No. 26. When any floor, after being in use for some time, shows the 
wear, a coat of clear varnish should be applied. [he wood should 
first be cleaned thoroughly with a weak solution of ammonia and 
clear, cold water, and allowed to dry thoroughly. After being 
sanded with fine sandpaper, one coat of Mar-not should be applied. 
If the old finish is considerably worn, two coats of this varnish 
are essential. 

VARNISH STAIN FintisH. How to finish soft-wood or hard- 
wood floors that have been previously finished, or from which 
carpets have been removed, is not the vexing question it used to 
be. A painted finish may not always suit the scheme of decoration, 
and the floors may not be in good enough condition for natural 
finish with varnishes, or they may have been previously painted, 
and a change now wanted. Such floors can be best treated by the 
use of the right kind of stain combined with varnish, which covers 
up all imperfections in the floor, and produces a good varnish finish 
imitating a variety of natural woods. ‘The same method of finishing 
may also be used on newly laid floors, especially where the floor :is 
of soft wood or of unattractive grain, and not adapted to a clear 
varnish finish. . 

Floor-lac is a finish especially made for such purposes. It is 
a stain and varnish combined. It is what is known as a pigment 
stain—that is, a stain in which enough pigment is combined with 
varnish to insure stability of color. Floor-lac light oak and dark 
oak are colors which are particularly attractive. Floor-lac green 
is frequently used in living-rooms and dining-rooms. ‘The cherry, 


[ 146 ] 


THE PROPER TREATMENT OF FLOORS 
ss “rt Fe i es a eh elle lalla 
mahogany, walnut, and rosewood are equally attractive when used 
in rooms where the other decorative details are in perfect harmony. 

This finish can be used equally as well on new floors and old 
floors. On old, badly marred floors it is necessary to first apply 
a coat of Floor-lac ground, in order to cover up any imperfections 
in the floor, and to get the proper surface for producing any of the 
various colors mentioned above. Specification No. 28 is for new 
floors, and specification No. 29 furnishes the details for finishing 
old floors that have been previously treated. 

PAINTED FintsH INsipE. A painted finish is most suitable for 
floors of soft wood. Hard-wood floors, such as maple, hard pine, 
oak, birch, etc., should have a varnish finish, unless badly marred. 
A painted finish covers up all imperfections in the wood and furnishes 
a surface which is extremely durable, and which can be scrubbed 
and cleaned frequently. A painted finish is especially suitable for 
kitchen or bedroom floors. Sherwin-Williams Inside Floor Paint 
is especially prepared for this purpose. On new floors or old floors, 
not previously painted, three coats of Inside Floor Paint should 
be used. On old floors two coats will be quite sufficient. 

Wax Finisw. A wax finish produces a polished effect when 
used over a varnished or painted floor, and helps to bring out and 
preserve the finished surface. All the arguments to the contrary 
notwithstanding — never apply any kind of floor wax to the bare 
wood or over a floor that has been treated with a filler only. Floor 
wax alone offers no protection to the wood against grease, moisture, 
etc. Water should not be used on a floor treated simply with floor 
wax without the preparatory coat of varnish. Water used under 
such conditions will raise the grain and darken the wood. In order 
to revarnish a floor that has been previously waxed, all of the old 
wax must first be completely removed with turpentine. In order to 
obtain a durable waxed floor, it must first be varnished, in order to 
preserve the floor and protect the wood from moisture and grease. 
Sherwin-Williams Floor Wax should then be applied in a thin coat 
as it comes from the can. A soft rag should be used for this pur- 
pose, and the wax should be applied on about a square yard of the 
floor at a time, and polished before proceeding further. 

For UnsiGHTLy Cracks AND SEAMS. If the floors are old and 
the boards have shrunk apart, if they have cracked and do not come 
together completely, it is advisable, before applying any paint, stain, 
or varnish finish, to fill up the cracks and seams. In this way a 


[ 147 ] 


YOUR HOME AND ITS DECORATION 


smooth and uniformly even surface will be secured. When these 
open cracks in the floor are filled, they cannot become clogged with 
dust and dirt, and the floor will be better looking and more sanitary 
in every respect, and it will be more easily kept clean. On floors 
of this sort it is frequently advisable to entirely remove the old 
finish. “Taxite has been provided for just such a purpose. This 
material has been described more fully in Chapter XIX. 

PAINTED FintsH OutsipE. ‘There is no choice in the finishing 
of porch floors and steps, except between good paint, especially made 
for the purpose, and ordinary paint. Paint gives the only durable 
finish for hard usage and exposure porches get, but ordinary paint, 
or even that made for inside floors, is not good enough nor properly 
adapted. The right paint is made to dry slowly enough to give 
the requisite durability under the severest exposure and hard wear. 
The colors used on porch floors should harmonize properly with 
the rest of the outside painting. Porch floors and steps should be 
painted once every year or two. It is economy to do so, besides, 
it helps to improve the general appearance of the property. Dull 
colors are most suitable for porch floors; light-olive drab, deep buff, 
gray stone, light gray, dark lake, and brown stone are all most suit- 
able colors for this purpose. In them will be found color tones 
which will harmonize satisfactorily with any colors which might 
be selected for the exterior of the house. Further information 
regarding this subject will be found in Chapter XV, “Proper Pro- 
tection for the Exterior.” For porch floors which have been pre- 
viously finished, the following directions are most applicable. 
First — Remove all loose paint. Where surface is hard and smooth 
add one pint of pure turpentine to each gallon of paint, brush out 
evenly and well. ‘Iwo coats of material are necessary for satis- 
factory work. ‘The second coat should be applied as it comes from 
the can. For the finishing of new floors, specification No. 8 
should be used. 

The care of any finished floor is very important. All parts 
which are subjected to extremely hard wear should be refinished 
before the old paint or varnish has been worn down to the bare 
wood. If this condition is allowed to exist, all dirt and other particles 
become ground into the wood itself and cannot be removed without 
scraping. An extra coat of varnish applied to these parts occasion- 
ally will eliminate all such difficulties. If the floor is waxed, this 
wax must be removed by means of turpentine, before the floor is 


[ 148 ] 


THE PROPER TREATMENT OF FLOORS 


refinished. In any event, all grease and dirt must be thoroughly 
removed before any new finish is applied. A little floor varnish 
should be found in the equipment of every well-regulated home. 

One of the latest and most unique methods of decorating floors 
is by means of stencil borders. ‘he operation itself is a very 
simple one, and the success of such decoration depends upon its 
harmony with all other decorative details in the room as well as 
upon the character of the materials used. The most suitable 
foundation for stencilling of this kind is the painted or enameled 
surface. 

An old floor, therefore, is quite as capable of receiving these 
decorative borders as any new one. The proper surface may be 
produced as described previously for “Painted Inside Finish.” 

The stencil itself figures largely in the results. Only such 
designs as are both bold and simple should be selected. ‘The 
Greek Key and the simple Moorish border designs are especially 
attractive. [he contrast between the stencil color and the floor 
color should be held of medium strength. A shade approximating 
the strength of Fumed Oak is attractive over the light oak floors, 
while browns of the Old English order should be applied over the 
dark oak floors. 

When grays or greens are selected for the floors, one 1s safest in 
choosing a color for the stencil similar in tone but darker than the 
floor color. 

The following illustrations represent some of the possibilities 
in decorating the painted floor. 


=| mes ‘ea nae = 


[ 149 ] 


CHATRIEE Raat 


MATERIALS FOR REMODELING AND REDECORATING 


HE reader should consider this chapter as a supplement 

to Chapter XIII, in which this subject has been treated in 

a general way. Here the more specific information 1s 
given, and mention made of certain definite materials which are 
best suited to the different kinds of finishing required in connection 
with the remodeling and redecorating of the home. There are 
many finishing problems which confront one during the course of 
such changes, and not alone general principles but practical direc- 
tions are necessary for their satisfactory solution. 

Tue Exterior. Alterations and additions to the exterior 
require great care in painting, so that the lines between old and 
new work may be entirely eliminated. Such surfaces should be 
free from grease and soot, and the loose particles of paint on the 
parts previously painted must be carefully removed. The wood 
must be perfectly dry. Moisture often causes blistering, cracking, 
scaling, etc. Moisture is always present in green or pitchy lumber, 
and after a rain, a heavy dew, or a fog. No paint should be applied 
over surfaces in this condition. All new parts and old parts not 
thoroughly covered must be coated with S-W Primer. Paint 
to be used on soft, spongy or open surfaces must be thinned liberally 
with pure, raw linseed oil, with a little pure spirits of turpentine 
for first coats and well brushed in, while paint to be used on old, 
hard, and resinous surfaces, or for second coat on new work, requires 
the use of less oil and a liberal allowance of spirits of turpentine 
to assist in penetration. 

Coats must not be flowed on, but must be well brushed out. 
Apply the paint in thin coats. Brush it out thoroughly. Any paint 
put on too thick is liable to crack or peel, and such workmanship 
is responsible for more unsatisfactory results than any other cause. 
Do not let one coat of paint stand too long before applying the next 
coat. ‘lhe second and third coats must be applied as soon as 
previous coat 1s thoroughly dry, if long wear is expected. Do not 
paint over pitchy surfaces and expect satisfactory results. No 
paint can do well on such surfaces. Do not paint in frosty weather 


[ 150 ] 


MATERIALS FOR REMODELING AND REDECORATING 


or over too glossy a surface. Any paint will “crawl’’ under such 
conditions. Lumber is steadily deteriorating in quality, and hence 
more difhcult to paint successfully. Do not expect the finishing 
coats to stand unless the primer is used as thin as possible, thoroughly 
brushed out, and allowed to become bone dry before recoating. 
It is false economy to use only two coats of paint on new work. 
Don’t expect best results unless you use a primer and two subse- 
quent coats. Wherever possible, employ a good, practical painter. 
The instructions given in Chapter XV for the application of Sherwin- 
Williams Paint (prepared) should be carefully considered in con- 
nection with the redecorating of the exterior. (Specification No. 1.) 

In some cases the exterior walls of clapboard or tongue and 
groove siding have been allowed to deteriorate to such an extent 
that the many previous coats of paint have become badly cracked 
and present the appearance of an alligator’s back. ‘This condition 
of the paint has allowed moisture to penetrate the wood itself. 
Such an exterior wall is frequently covered with shingles in the 
remodeling. ‘The shingles should be treated in accordance with 
specification No. 2. In renewing Preservative Shingle Stains, 
one coat of the same color is sufficient. If another shade is desired, 
use two coats. Always use a lighter shade than that actually desired, 
in restaining. Stains invariably dry out darker on old surfaces 
than on new. 

Preservative shingle stains can be used both as a brush coat 
and for dipping. For brush coating, always apply two coats. Where 
a dipping coat is used, it is best to apply a brush coat as soon as 
shingles are laid — it insures a more uniform appearance. Do not 
soak the shingles in the stain. Dip in and out rapidly, allow excess 
stain to drain back into original package, then throw shingles into 
a loose pile so they will dry rapidly. While Preservative Shingle 
Stains are not deleterious to health, still, if rain water from roofs 
is saved for household use after staining, allow first few rains to 
run off, until any unpleasant taste disappears. ‘This caution applies 
to all stains. It takes about 1,000 shingles to cover 100 square feet, 
if laid five inches to weather; if laid four inches to weather, about 
1,250 shingles; if laid three inches to weather, about 1,700 shingles. 
Red cedar shingles give best satisfaction. Next in quality come white 
pine, then Norway pine; the cheapest priced shingles being hem- 
lock. It is good economy to use red cedar shingles— they wear 
longest. It is best to use galvanized iron nails in shingling. 


[ 151 ] 


YOUR HOME AND ITS DECORATION 


All metal work used in remodeling requires the same treatment 
as for new work. (Specification No. 5.) Porch floors have been 
treated in detail in Chapter XVIII and in specification No. 8. 

Tue Interior. For the redecorating and remodeling of the 
interior, a large variety of the materials are provided. It is in such 
work that one requires a finish especially prepared for each particu- 
lar purpose. Materials made expressly for finishing doors are not 
always suitable for woodwork, and others prepared for new work 
cannot be used satisfactorily on rough parts of the old work. Some 
one of the Sherwin-Williams finishes will be found suitable for each 
kind of treatment. 

One faces the problem of removing old paint or varnish at nearly 
every turn, and many times delicate matching of woodwork ‘stain 
is absolutely necessary. S-W ‘Taxite is made expressly for this 
purpose. It quickly removes all old paint and varnish, leaving 
the wood in perfect condition for refinishing. ‘Taxite does not 
injure the hands, damage wood or veneer, or raise the grain. Direc- 
tions for the application of T'axite may be found in specification 
No. 39. After any kind of wood has been treated with Taxite, any 
one of the woodwork finishes mentioned in Chapter XVI may be used. 

It is not always necessary to remove the paint or varnish and 
entirely refinish the work in order to produce a stained effect on 
old woodwork. If the wood has been previously finished natural, 
and a darker stain is desired, many satisfactory effects can be 
obtained by applying only one coat of Brighten-Up Stain. Light 
or dark oak are effective colors, while maghogany, cherry, or green 
can be selected, if desired. If the original finish is darker than 
the treatment desired, it is necessary to apply a coat of Brighten-Up 
Stain Ground. (See specification No. 36.) 

Any opaque treatment, such as white or ivory enamel, is appro- 
priate for remodeled woodwork, because all imperfections in the 
wood can be easily covered up. Only the new parts will require 
the full number of under coatings in specification No. 18. 

Extreme care in sanding all rough spots should be taken, as the 
various coats are applied, and particularly in advance of the Enamel- 
astic coats. Different grades in these final enamel coats may be 
obtained. Enamelastic for the very best finishes in living-room, 
dining-room, or other important rooms on the first floor, as well 
as for the chambers. ‘This material can be obtained in three styles, 


“dull,” “rubbed,” and “gloss.” (See specification Nos. 19, 18, 17.) 
[ 152 ] 


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T ALVWId 


MATERIALS FOR REMODELING AND REDECORATING 


Enameloid is another thoroughly reliable enamel, although less 
expensive than Enamelastic. It is particularly suitable for kitchen 
walls and woodwork. ‘The various colors in which it is made per- 
mit of many harmonious effects. (Specification No. 17a.) 

During the course of interior alterations, the walls demand a 
good share of attention. Considerable replastering is necessary, 
wall-paper is damaged, and the walls must be carefully repaired. 
This is an excellent time to remove all wall-paper and Flat-tone the 
walls and ceilings. ‘The operation of removing wall-paper for the 
purpose of painting or decorating is a simple one. First the wall 
or ceiling is dampened with hot water or hot paste by means of a 
sponge or large brush. After standing a few minutes in this con- 
_ dition, the softened paper can easily be removed by using a thin 
piece of metal with a sharp edge as a scraper. The wall should be 
wiped off carefully, and, when thoroughly dry, is ready for painting. 
Three coats of Flat-tone or one coat of special wall-sizing varnish 
and two coats of Flat-tone should be used on such a wall. (See speci- 
fication No. 33.) Further suggestions for wall treatment may be 
found in Chapter XVII. 

“One thing calls for another,” and when one is in the midst of 
remodeling or redecorating the floors, walls, and woodwork of the 
home, there are many other surfaces which need refinishing. Pos- 
sibly a chair is out of harmony with the woodwork, an iron bedstead 
is badly marred, or the kitchen cupboards need repainting. Just 
such problems as these can easily be solved by means of 
Sherwin-Williams Brighten-Up Finishes. ‘These materials in- 
clude a finish especially adapted to each and every one of these 
purposes. | 

Brighten-Up Enamel will produce an extremely durable finish 
for iron bedsteads, and can also be used satisfactorily for woodwork, 
wickerware, bric-a-brac, etc. This material will produce a glossy 
finish which is extremely durable. Naturally, one would choose 
the “white” for an iron bedstead, and for any pieces of furniture 
to be used in a white enamel room. Still, there is frequent desire 
for other colors, and Brighten-Up Enamel is prepared in the follow- 
ing delicate colors: ivory white, flesh, light yellow, rose pink, silver 
gray, and sea green. Occasionally, the stronger colors are most 
appropriate—vermilion, willow green, robin’s egg blue, carmine, 
emerald green, and black. Complete directions for the application 


of this finish are given in Chapter XXI, specification No. 37. 


b 


farsa 


YOUR HOME AND ITS DECORATION 


Many old bathtubs can be made to do good service again if 
refinished with Brighten-Up Bath Enamel. ‘This enamel produces 
a porcelain-like surface that is very durable under the wear to which 
bathtubs are subjected. It is especially adapted for use on zinc 
and papier-mache tubs. The surface must be thoroughly cleaned 
and each coat allowed to dry thoroughly; then you will get satis- 
factory results. Cheap enamels are frequently sold for this pur- 
pose, but they will not stand hot water for any great length of time. 
Bath enamel is made in porcelain, which 1s an extremely pure white. 
Complete specifications may be found in Chapter XXI, specification 
No. 38. 

Ta from the retouching of the little things about the home with 
Gold or Aluminum Paint that one gets the greatest pleasure. ‘This 
is undoubtedly due to the ease with which these Brighten-Up Fin- 
ishes are applied, as well as to the satisfactory results obtained. 
With one coat of the Gold Paint or Enamel, a chair, radiator, or 
picture frame is magically given a bright, new finish. The gold 
finishes are suitable for radiators and other surfaces subjected to 
heat, as well as for tables, chairs, iron bedsteads, picture frames, 
and other bric-a-brac. ‘The Brighten-Up Liquid Gold is ready 
for immediate use, and the enamel is made for those who prefer to 
have the liquid and bronze separate. One coat is sufficient in each 
case, except on unusually rough or worn surfaces upon which two 
or more coats can be applied. 

The conditions surrounding the use of Brighten-Up Aluminum 
Paint are practically the same as for the Gold Paint. ‘The objection- 
able banana-like odor is entirely eliminated in this material, and 
it will withstand the action of heat, and is, therefore, excellent for 
use on radiators and steampipes. Housewives are beginning to 
realize how much brighter and cleaner the kitchen, laundry, cellar, 
and other rooms of the home are when Aluminum Paint is used. 
It not only saves the necessity of frequent cleaning of rusty iron 
and metal surfaces, but improves the general appearance of rooms 
in which it is used. One coat of Aluminum Paint is usually suf- 
ficient, although on new work two coats are more satisfactory. 

Durable Household Varnish is another Brighten-Up finish which 
is extremely useful for redecorating purposes. It is a general- 
purpose varnish, which is tough and elastic, and adapted to almost 
any use. It can be used on floors, where it will stand hard foot 
wear without scratching or marring easily. It can be successfully 


[ 154 ] 


MATERIALS FOR REMODELING AND REDECORATING 


used on bathroom woodwork, where it will not turn white from 
dampness, or on furniture, where it will stand hard wear as well as 
many varnishes costing twice as much. It works easily, dries dust 
free in eight hours, can be walked on in twenty-four to thirty-six 
hours, and is perfectly hard in two days. 

A flat-black finish, such as Brighten-Up Flat Black, is very 
frequently necessary in the remodeling and redecorating of the 
home. This finish produces a dull-black, wrought-iron finish on 
ornamental iron work, lamps, fixtures, andirons, picture frames, 
and similar surfaces. Occasionally, it is used on the backs of dressers 
and other articles of furniture that are exposed to view. One coat 
is usually sufficient. For many surfaces subjected to heat, Stove- 
pipe and Iron Enamel is the most suitable finish. For stove-pipes, 
grates, stoves, hot-air registers, it is very satisfactory. Old and dis- 
colored pipes can often be so well finished as to make it unnecessary 
to buy newones. Stoves and registers, too, can be improved 100 per 
cent. in appearance. Stove-pipe and Iron Enamel is applied with a 
brush, and only one coat is necessary. If put on when the surface 
is warm, it is practically smokeless. Care must be exercised not 
to let Stove-pipe and Iron Enamel come in contact with superheated 
surfaces, open flame, or live sparks, as the ingredients from which 
it is made are inflammable under these conditions. 

For some kinds of decorating, a durable oil-gloss finish 1s desired. 
Kitchen chairs, tables, and other furniture come under this classi- 
fication. Family Paint is the Brighten-Up finish which is most 
suitable for this purpose. It is ready for use, and one coat is quite 
sufficient for old work, while two or three coats should be used on 
the new wood of any altered parts. Cupboards, shelving, and 
articles in the laundry, cellar, and basement frequently need a coating 
of this material. Family Paint will stand outside exposure, and 
can, therefore, be used satisfactorily on flower boxes and other such 
articles. [he strong colors, scarlet, vermilion, maroon, red, bottle 
green, black, and dark blue are most frequently selected for these 
latter purposes, while such colors as buff, ash gray, apple green, 
flesh, lavender, lemon, light blue, and other such light colors are 
used for the interior work. 

VarnisH Gioss Paint. Just as an illustration of the impor- 
tance of selecting a special finish for each surface, take the porch 
furniture and the conditions by which it is surrounded. Here we 
have a coating subjected to the most severe exposure, one which 


[ 155 ] 


YOUR HOME AND ITS DECORATION 


must not become soft or sticky, and one whose color should not 
fade. It is quite evident that the manufacturer has many similar 
problems to solve, and that one should depend alone upon informa- 
tion offered by the most reputable manufacturers. A varnish 
gloss paint is the most satisfactory material for porch furniture, — 
swings, etc. Brighten-Up Finish, Porch and Lawn Furniture 
Enamel, is a varnish gloss paint made expressly for such purposes. 
It will stand most severe exposure, and will not soften or stick to 
clothing. The strong colors are most popular—grass green, carmine, 
and vermilion. In some cases willow and bog greens harmonize to 
better advantage with the house colors. One coat is usually sufficient. 

Screen Enamel is another material made for a special purpose. 
It prevents rust and prolongs the life of the wire window and door 
screens. It is equally good for the frames. ‘The proper colors are 
black and green. 

Great economy results from the use of paints and varnishes 
about the home. Many a chair or table has escaped long storage 
in the attic by means of a coat of Brighten-Up Finish. ‘The ease 
with which much of this redecorating is accomplished is of equal 
satisfaction to the pleasing results. It is only necessary to select 
the Brighten-Up finish which is best adapted to each surface and 


satisfactory results are assured. 


i558] 


CHAPTER XX 


SPECIFICATIONS FOR THE ILLUSTRATIONS 
NREQUENT mention is made throughout this book of the illustra- 


tions, in each instance referring the reader to this chapter for further 

specifications. These illustrations have been designed with great 
care and by experienced decorators. Many of them have been actually 
carried out in every detail. ‘Those wishing to adopt any of them 
need, therefore, have no fear of the results. ‘They are practical in every 
sense of the word. The working specifications, also, are indicated, 
and color folders of the various products mentioned may be obtained 
upon request. 


Color Plate A. 


Lower Bopy — S-W P. 360. Specification No. 1. 

TRIMMING AND SasH — S-W P. Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B46. Specification No. 2. 

Upper Bopy — S-W P. 393 or S-W Preservative Shingle Stain B46. 
Specification No. 1 or No. 2. 

PercoLta Beams — S-W P. 393. Specification No. 1. 

PerGoLa Pirtars — S-W Gloss White. Specification No. 1. 

PorcH Fioors — S-W Porch and Deck Paint 48 or Red Tile. Speci- 
fication No. 8. 

PorcH CEILING — S-W P. 360. Specification No. 1. 


Color Plate B. 


Cri1rinc — S-W Flat-tone Cream 832. Specification No. 33. 
Watt — S-W Flat-tone Aurora Yellow 825, followed with S-W Flat- 


tone Glaze Colors. 


MUMMeRieniate ss a <8 2 hn 9G! SPs I part. 
Olive Lakes. . # part. 
Greatly reduced with Flat-tone Glazing Tiguid. Specification 
No. 34. 


Woopwork — Birch — S-W Handcraft Stain, Mahogany, Light, follow- 
ed with S-W Mission-lac and S-W Durable Wood Finish Interior. 
Specification No. 15 or No. 16. 

FLroors — Oak — Natural, S-W Transparent Filler and S-W Mar- 
not Varnish. Specification No. 21. 

Curtains — White Net. 


[ 157 ] 


YOUR HOME AND ITS DECORATION 


OveER-CURTAINS — Plain Venetian Silk. 
Upuo.stery — Wool Tapestry. 

Ruc — Velvet Wilton. 

FuRNITURE — Same as woodwork. 


FIREPLACE — Cinder Flecked Brick. 


Color Plate C. 

Crrtinc — S-W Flat-tone Old Gold 840. Specification No. 33. 

Frieze — Wall-paper frieze “Fall Leaves.” 

Woopwork — Oak — S-W Handcraft Stain Brown Oak. Specifi- 
cation No. 14. 

FLoor — Oak — Filled with S-W Antique Filler, finished with S-W 
Mar-not — a durable floor varnish. Specification No. 21 (using 
Antique instead of Transparent Filler). : 

FURNITURE — Same as woodwork. 

Curtains — Figured Madras in colors to match frieze. 

Ruc — Oriental. 


Color Plate D. 


Critinc — S-W Flat-tone Cream 832. Specification No. 33. 

Wai — S-W Flat-tone Bright Sage 847. Specification No. 33. 

Woopwork — Birch — S-W Enamel Pure White. Specification 
No. 18. 

FLroor — Oak — Natural, Transparent Filler and Mar-not. Speci- 
fication No. 21. 

Furniture — S-W Handcraft Stain Bog Oak. Specification No. 9. 

Curtains — White Net. 

FIREPLACE — White Enamel, cream fire-brick. 

Rucs — Onental. 

Upno.stery — Imported Cretonne. 


Color Plate E. 
Cr1tinc — S-W Flat-tone Cream 832. Specification No. 33. 
Watt — S-W Flat-tone Shell Pink 829. Specification No. 33. 


Stencil No. 21, Size 15 x 30. 
Leaves, S-W Kine tone Glaze Colors. 


Olive Lake;-eaig Ave Ree ee 4 part. 

Permanent Crimson Lake, say SSR | $ part. 

Stencil AVViiitesee tre an ahe neeeen I part. 
Flowers. 

Cobalt, «igi ad & ee eee & part. 

Permarient) Crimson \akese asses 4 part. 

stencil White; ge) I part. 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Woopwork — Birch — S-W_ Enamel Pure White. — Specification 
No. 19. 

FLroor — Hard Pine — Natural. Finished with S-W Mar-not (a 
durable floor varnish). Specification No. 22. 

Curtains — White Muslin. (Borders) Stencil No. 83, size, six inches 


high. 

Leaves produced with S-W Flat-tone Glaze Colors. 
SSA ROLE ee ee i a 5 part. 
Got eo ne er t part. 
SPRITE AVY SITs cc g's 5 sys Vas, ee hs x os I part. 


Flowers — Same Glaze Colors as specified for Wall Stencil. 
BED AND CHAIR Covers — Cretonne to match Wall Stencil Colors. 
Ruc — Wilton Carpet with Special Border in Green and Pink. 


Color Plate F. 


Roor — S-W Preservative Shingle Stain C71. Specification No. 2. 

SasH — S-W P. 393. Specification No. 1. 

Trimminc — S-W P. Gloss White. Specification No. 1. 

Beams AND Upper [RimMminc — S-W P. 393 or S-W Preservative 
Shingle Stain B46. Specification No. 1 or No. 2. 


Color Plate G. 
CEILING AND Woopwork — Chestnut — S-W Handcraft Stain Silver 
Gray. Specification No. 11. 

FLoor — Oak — S-W Handcraft Stain Silver Gray — reduced 100 per 
cent., Transparent Filler and Mar-not. Specification No. 25. 
FuRNITURE — Oak and Wicker—S-W Handcraft Stain Silver Gray. 

Specification No. 11. 
FIREPLACE — Rookwood Tile. 
Anpirons — Wrought Iron. 
Ruc — Hand tufted. 
Curtains — Ecru Net. 
Over-curRTAINS — Imported Cretonne. 


Color Plate H. 

Creitinc — S-W Flat-tone Cream 832. Specification No. 33. 

Watt — S-W Flat-tone Cream 832, and Flat-tone Glaze Colors, 
Asphaltum, 1 part; Permanent Crimson Lake, 4‘) part, reduced 
with Flat-tone Glazing Liquid. Specification No. 34. 

WoopworkK — Birch — S-W Enamel Pure White. Specification 
No. 18. 

FLoor — Oak — Natural. S-W Transparent Filler and Mar-not. 
Specification No. 21. 


[ 159 ] 


YOUR HOME AND ITS DECORATION 


FurniturE — Birch — S-W Handcraft Stain Mahogany.  Specifi- 
cation No. 16. 

Curtains — Imported Cretonne. 

Rucs — Oriental. 


Color Plate I. 
Crrtinc — S-W Flat-tone Ivory 833. Specification No. 33. 
Wa it — S-W Flat-tone Old Gold 840. Specification No. 33. 
Stencil No. 46. 


Leaves, Flat-tone Glaze Colors. 


Olive Lake, 2 42 eee =) eae. 
Raw siennay> ee ee eee . ear: 
Stencil White, ee + part. 


Woopwork — White Wood —S-W Enamel Pure White. Specifi- 
cation No. 17. 

Doors — Birch — S-W Handcraft Stain Mahogany. Specification 
No. 16. 

FLoors — Pine — Natural. ‘Three coats S-W Mar-not. Specification 
IN OM2 I 

CurTaAIns, BED CoveriING— White Muslin with Stencil Border 
No. 34, using wall stencil colors. 

DRESSER AND TaBLE ScarF — White Linen with Stencil No. 73 in 
same wall stencil colors. 

Ruc — Hand-made Rug. 

FurRNITURE — S-W White Enamel, Dull Brass, or Mahogany. 


Color Plate Ff. 


Cr1Linc — S-W Flat-tone Cream 832. Specification No. 33. 

FRIEZE — Background S-W Flat-tone Maple Green 836. Stencil 
No. 13 applied in Flat-tone Lichen Gray 837, over the background 
color and the large peacock shown on the sketch produced with 
S-W Flat-tone Glaze, Colors Cobalt, Alizarine Green, Burnt Sienna, 
and Raw Sienna. 

Woopwork — Oak — S-W Handcraft Stain Bog Oak. Specification 
No. 9. 

FLoor — Oak — S-W Handcraft Stain Tavern Oak reduced 400 per 
cent. Antique Filler and Mar-not. Specification No. 25. 

FURNITURE — Same as woodwork. 

Curtains — Casement Cloth, stenciled in colors to match frieze. 
Stencil No. 13a. 

Ruc — Wilton. 


[2160> | 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Color Plate K. 


CriLinc — S-W Flat-tone Ivory 833. Specification No. 33. 
Stencil No. 44, Size g x 36. 

FriezE — Background S-W Flat-tone Ivory 833, slightly tinted with 
Bright Sage. 
Leaves, S-W Flat-tone Glaze Colors. 


iver make oe os fe ta I part. 

Pea a eee ee vos 8 Tadtiad wo) 2 4 pat. 

PAPE RICE. 4 Wet, Wir Gee > oe 5 part. 
Flowers. 

Permanent Crimson Lake, ..... + part. 

Waualicieeto «. © ae eee ee yy part. 

Berreeleti aug. fe es al wes ga $ part. 


Wa i — S-W Flat-tone Bright Sage 847. Specification No. 33. 

Woopwork — FurnirurE — White Wood. White Enamel. Specifi- 
cation No. 18. 

FLoor — Hard Pine — Stained S-W Handcraft Stain Silver Gray, 
greatly reduced and followed with S-W Mar-not. Specification 
No. 26. 

Curtains — White Muslin. 

OVER-CURTAINS, BED Cover, Cusuions, ETc.— Figured Cretonne. 

Ruc — Hand-made Rag Rug. 


Color Plate L. 


Cr1Linc — S-W Flat-tone Cream 832. Specification No. 33. 
Upper Watt — S-W Flat-tone Old Gold No. 840, followed with Flat- 


tone Glaze Colors. 


Olive Lake, . . I part. 
JOSIE ee ae en ee 4 part. 
Specification No. 34. 
FRIEZE — Stencil No. 36, Size, 30 inches high. 
Leaves produced with Flat-tone Glaze Colors. 
Be EUR a ee ee oe 4 parts. 
Oe oo I part. 
RETICLE EtG] ge) Gia fot SOY ake I part. 
Flowers Produced with 
RemerenUa ye ek he tlc. Sims | I part. 
Bueotepreanes bees. snd Ok zy part. 
MEGICHMVY RITES. mere! fous owas «A $ part. 


Lower Watt Panes —S-W Flat-tone Cream 832, followed with 
two mixtures of Flat-tone Glaze Colors blended and stippled. 
First mixture, equal parts Burnt Sienna Indian Yellow. 

Second mixture, Olive Lake. Specification No. 34. 


[ 161 | 


YOUR HOME AND ITS DECORATION 


Woopwork — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 9. 

FLoors — Oak — S-W Handcraft Stain Old English Oak, reduced 
50 per cent. Specification No. 25. 

Furniture — S-W Handcraft Stain Old English Oak. Specification 
No. g. 

pane eee — Golden Brown Monks’ Cloth. Stencil Border No. 2. 

Curtains — White Scrim. 

Over-curTains — Venetian Silk, figured. Table-throw, Cream Linen 
Rep with Stencil No. 24. 

Ruc — Velvet Wilton. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER I 


EXTERIOR 
Plate I. 

Bopy — S-W Preservative Shingle Stain C82. Specification No. 2. 

Trimminc — S-W Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C71. Specification No. 2. 

PorcH FLtoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CEr1Linc — S-W P. 482. Specification No. 1. 

Ex. Doors — Birch — S-W Handcraft Stain Mahogany. Specification 
INGs 4a; 

FounpaTIon — Red Brick. 


Plate II. 


Upper Bopy —S-W Preservative Shingle Stain B46. Specification 
IM Tae Ie 

Lower Bopy — S-W P. 486. Specification No. 1. 

Trimminc — S-W P. 462. Specification No. 1. 

SasH — S-W P. 462. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C74. Specification No. 2. 

Porcu Firoor — S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH CrILinc — S-W P. 462. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Specifica- 
tion No. 4. 

FounpDaTION — Buff Brick. 


[ 162 | 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Plate III. 

Bopy — S-W Preservative Shingle Stain B45. Specification No. 2. 

‘TRimMinc — S-W P. 482. Specification No. 1. 

SasH — S-W P. 482. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C79. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 50. Specification 
No. 8. 

Porcu CriLinc — S-W P. 479. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Fumed Oak. Specification 
No. 4. 


CHIMNEYs — Field Stone. 


Plate IV. 

Bopy — Wide ship-lap, S-W P. 387. Specification No. 1. 

‘TRIMMING — Pergola S-W Gloss White. Specification No. 1. 

SasH — S-W P. 382. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B44. Specification No. 2. 

PorcH FLoor — S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH CEILING — S-W Gloss White. Specification No. 1. 

Ex. Doors — Birch —S-W_ Handcraft Stain Walnut. Specification 
No. 4a. 


Plate V. 


Urrer Bopy —S-W Preservative Shingle Stain B44. Specification 
No. 2. 

Lower Bopy — S-W P. 457. Specification No. 1. 

Trimminc — S-W P. 371. Specification No. 1. 

SasH — S-W P. 457. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C73. Specification No. 2. 

Porcu FLoor — S-W Porch and Deck Paint No. 50. Specification No. 8. 

Porcu Critinc — S-W Kopal. Specification No. 3. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


Plate VI. 
Bopy — Stucco S-W Concrete and Cement finish No. 105. Specifica- 
tion No. 6. 
Trimminc — S-W Preservative Shingle Stain B48. Specification No. 7. 
SasH — S-W P. 462. Specification No. 1. 
Roor — S-W Preservative Shingle Stain B44. Specification No. 2. 


[ 163 | 


YOUR HOME AND ITS DECORATION 


PorcH FLtoor—S-W Porch and Deck Paint No. 48. Specification No. 8. 

Porcu Cr1Linc — S-W P. 462. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Brown Oak. Specification 
No. 4. 


Plaka dl: 

Bopy Cement — S-W Concrete and Cement Finish No. 75. Specifi- 
cation No. 6. 

Trimminc — S-W Gloss White. Specification No. 1. 

SasH — S-W P. 382. Specification No. 1. 

Roor — Red Tile or Metal Tile, finished-with S-W Galvanized Primer 
and S-W P. 367. Specification No. $a. 

PorcH FLtoor — Cement, S-W Concrete and Cement Weather Proof 
Coating and S-W Porch and Deck Paint No. 49. Specification 
No. 6a. 

Porcu Crrtinc — S-W P. 482. Specification No. 1. 

Ex. Door — Oak —S-W Handcraft Stain Cathedral Oak. Specifi- 


cation No. 4. 


Plate VIII. 


Bopy — S-W Concrete and Cement Finish White. Specification No. 6. 

TRimmMinc — S-W Gloss White. Specification No. 1. 

SAsH — S-W Gloss White. Specification No. 1. 

SHUTTERS — S-W Preservative Shingle Stain B47. Specification No. 2. 

Roor — S-W Preservative Shingle Stain B44. Specification No. 2. 

PorcH FLoor—S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH CEILING — S-W Gloss White. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


Plate 1X. 


Bopy —S-W Concrete and Cement Finish No. 105. Specification 
No. 6. 

Trimminc — S-W P. 371. Specification No. 1. 

SasH — S-W P. 382. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B41. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH CrrLinc — S-W Gloss White. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Weathered Oak. Speci- 
fication No. 4. 


[ 164 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Plate X. 


Bopy — S-W Concrete and Cement Finish No. 75. Specification No. 6. 

Trimminc — S-W Preservative Shingle Stain B44. Specification No. 7. 

SasH — S-W P. 393. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C71. Specification No. 2. 

PorcH FLoor—S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CEILinc — S-W P. 497. Specification No. 1. 

Ex. Doors — Chestnut — S-W Handcraft Stain Tavern Oak. Speci- 
fication No. 4. 


Plate XI. 


Bopy — S-W Preservative Shingle Stain B42. Specification No. 2. 

‘TRrmMinc — S-W P. 371. Specification No. 1. 

SasH — S-W P. 382. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

GaBLE — S-W Preservative Shingle Stain B41. Specification No. 2. 

Roor — S-W Preservative Shingle Stain C73. Specification No. 2. 

PorcH FLtoor — S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu CerrLinc — S-W P. 482. Specification No. 1. 

Ex. Doors — Ash — S-W Handcraft Stain Weathered Oak. Speci- 
fication No. 4. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER II 


Plate XII. 
Bopy — S-W Concrete and Cement Finish No. 105. Specification 
No. 6. 


Trimminc — S-W Preservative Shingle Stain B48. Specification No. 7. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B47. Specification No. 2. 

PorcH Fioor — S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

Porcu CeiLinc — S-W Preservative Shingle Stain B48. Specification 
No. 7. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


Plate XIII. 


Bopy — S-W Concrete and Cement Finish No. 75. Specification No. 6. 
Trimminc — S-W Gloss White. Specification No. I. 


[ 165 ] 


YOUR HOME AND ITS DECORATION 


SasH — S-W Gloss White. Specification No. 1. 
Buiinps — S-W Preservative Shingle Stain C75. Specification No. 


rf 

Porch Firoor—S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu CriLt1nc — S-W Gloss White. Specification No. 1. 

Ex. Doors — Birch — S-W Handcraft Stain Mahogany. Specification 
No. 4a. 

Iron Gateway — S-W Metalastic. Specification No. 5. 


Plate XIV. 

Bopy — Vitreous Brick. 

Trimminc — S-W Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — Green Spanish Tile. 

PorcH Frioor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH Certinc — S-W P. 462. Specification No. 1. 

Ex. Doors — Birch — S-W Enamelastic White Exterior. Specifica- 
tion No. 40. 


Plate XV. 


Uprer Bopy — Cedar Shingles treated with S-W Preservative Shingle 
Stain B46. Specification No. 2. 


Trimminc — S-W Preservative Shingle Stain B47. Specification 
No. 7. 

SasH — S-W P. 486. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B46. Specification No. 2. 

PorcH FLoor —S-W Concrete and Cement Weather Proof Coating 
and S-W Concrete and eae Finish No. 75. Specification 
No. 6a. 

PorcH CEILING — Same as trimming. 

Ex. Doors — Oak — S-W Handcraft Stain Old Eels Oak. Speci- 
fication ae 4. 


Plate XVI. 


Upper Bopy — Cedar Shingles treated with S-W Preservative Shingle 
Stain C81. Specification No. 2. 

Lower Bopy — Cedar Shingles finished with S-W Gloss White. Speci- 
fication No. 1. 

TRIMMING AND SETTLES — S-W P. Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 


[ 166 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


PorcH FLoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Ex. Doors — Birch — S-W Enamelastic, Exterior. Specification No. 
40. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER III 
Plate X VII. 


Cr1tinc — S-W Flat-tone Cream 832. Specification No. 33. 

Watt — S-W Flat-tone Old Gold 840. Specification No. 33. 

Warnscotinc — S-W Flat-tone Maple Green 836. Specification No. 33. 

Woopwork — S-W Enamelastic White. Specification No. 19. 

Stairs, Ris—ERs, AND BALUSTERS— Hard Pine,—S-W Enamelastic 
White. Specification No. 19. 

TREADS AND Hanp-raiL — Birch — S-W Handcraft Stain Mahogany. 
Specification No. 16. 

FLoors — Hard Pine — Finished Natural S-W Mar-not. Specification 
No. 22. 

Rucs — Oriental, in various sizes. 

FURNITURE — Colonial type, upholstering Pan Plush in neutral green 
coloring. 

Curtains — Barred Filet Net, sill length. 

OVER-CURTAINS AND PorTIERES — Imported cretonne floral design in 
tones of green. 


Plate XVIII. 


Cemtinc — S-W Flat-tone Lichen Gray 837. Specification No. 33. 

Watt — S-W Flat-tone Maple Green 836. Specification No. 33. 

Woopwork — S-W Enamelastic White. Specification No. 19. 

FLoors — Hard Pine — Natural finish S-W Mar-not. Specification 
No. 22. 

Rucs — Onental. 

Furniture — Colonial type, upholstered in Green Haircloth. 

Curtains — White coarse mesh Brussels Net with insertion and edge 
of hand-made Battenberg, sill length. 

OveR-cuRTAINS — Green Venetian Silk, sill length. 


Plate XIX. 
Ce1Linc — S-W Flat-tone Old Gold 840. Specification No. 33. 
Watt — S-W Flat-tone System Effect No. 2, obtained by S-W Flat-tone 
Glaze Colors, Yellow Lake, light, 1 part; Royal Golden Lake, 1 
part; Florentine Lake, $ part. Specification No. 34. 
Woopwork — Hard Pine — S-W Enamelastic White (dull). Specif- 
cation No. 19. 


[ 167 ] 


YOUR HOME AND ITS DECORATION 


Doors — Birch — 8-W Handcraft Stain Mahogany, rubbed. Speci- 
fication No. 16. 

FLtoors — Hard Pine — Finished S-W Handcraft Stain Mahogany, 
reduced 75 per cent. with S-W Handcraft Stain Reducer and fol- 
lowed with S-W Mar-not. Specification No. 26. 

FurniTurE — Colonial, Sheraton type. 

Curtains — Old Gold Casement Cloth. 

PorTIERES — Old Gold, Imperial Velour. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER IV 
Plate xo 


Ceitinc — S-W Flat-tone System Effect No. 1, obtained by S-W 
Flat-tone Ivory 833 and S-W Glaze Colors, Indian Yellow, 3 parts; 
Permanent Crimson Lake, 1 part, both greatly reduced. Specif- 
cation No. 34. 

Wa tt — S-W Flat-tone System Effect No. 5, obtained by S-W Flat-tone 
Buff 841 and S-W Glaze Colors, Orange Lake and Burnt Sienna 
equal parts. Specification No. 34. 

Woopwork — S-W Handcraft System Effect No. 23. Specification 
No. 41. 

FLoor — Birch — S-W Handcraft Stain Mahogany, reduced 100 per 
cent., and S-W Mar-not. Specification No. 26. 

Curtains — Ecru Novelty Net. 

OvER-CURTAINS — Cotton or Wool Tapestry in tones ranging from 
Ivory to Dark Brown and in Blues and Green. 

Rucs — Oriental in Blues, Grays, Greens, Fawn, and Ivory. 

PoRTIERES — Same as over-curtains. 

FuRNITURE — Mahogany upholstered in Tapestry, similar to that em- 
ployed for Hangings. 


Bina Ta 


CeiLinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Wat. — S-W Flat-tone System Effect No. 8, obtained by S-W Bete 
tone Shell Pink 829 and S-W Glaze Colors, Florentine Lake, 75 
part; Cobalt, } part; Olive Lake, 1 part greatly reduced. Speci- 
fication: No. 34. 

Woopwork — S-W Handcraft System Effect No. 26. Specification 
No. 41. 

FLoor — Oak — Natural S-W Mar-not. Specification No. 21. 

Curtains — Ecru Net. 

Over-curtains — Warm Gray Velour, repeating tone of wall. 

Rucs — Small Oriental, in Rose, Light and Dark Blues, Grays, Ivory, 


and Green. 


[ 168 | 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


PorTIERES — Same as over-curtains. 
FurNITURE — Early English Type in Weathered Oak Stain. 
HARDWARE AND Fixtures — Of Beaten Copper. 


Plate XXII. 


CriLinc — S-W Flat-tone Cream 832. Specification No. 33. 

Wai — S-W Flat-tone Bright Sage 847. Specification No. 33. 

Woopwork — Oak — S-W Handcraft Stain Silver Gray. Specification 
ND. 1. 

FLoor — Oak — Natural S-W Mar-not. Specification No. 21. 

Curtains — Ecru Net. 

Over-curtains — Marseilles Dimity, Twilight 9700. 

Rucs — Scotch Caledon Patt. 3214, Col. 1982. 

PorTIERES — Same as over-curtains, lined in Pink Sateen. 

Furniture — Mahogany-stained furniture or Gray enameled pieces. 


Plate XXIII. 


Ceitinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Watt — 8-W Flat-tone System Effect No. 23, obtained by Gold Size 
and Aluminum Bronze and S-W Glaze Colors, Olive Lake, 1 part; 
Alizarin Green, 1 part; Cobalt Blue, 1 part; and Raw Sienna 
4 part. Specification No. 34. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 17. 

FLtoor — Maple —S-W Handcraft Stain Mahogany reduced go per 
cent. Specification No. 26. 

CurTAINS — Cream Arabian Net. 

Over-cCuURTAINS — Silk Armure or Velour in Rose. 

Rucs — Aubusson in pastel tints. 

PorTIERES — Same as over-curtains, faced with Sateen of the same 
color. 

Furniture — Mahogany and White Enamel. 


Plate XXIV. 
CEILING — Oak — S-W Handcraft Stain Weathered Oak reduced 80 


per cent. Specification No. 11. 

Watt — Oak — S-W Handcraft Stain Weathered Oak. Specification 
No. It. 

Woopwork — Same as wall. 

FLoor — Oak — S-W Handcraft Stain Weathered Oak reduced 100 
per cent. Specification No. 25. 

Curtains — Unica Mercerized Madras Patt. No. 38, Col. No. 1. 

Over-curTAINS — Mercerized Poplin in Green and Valance of same 
material with applique in rich Browns, Greens, and Dark Reds. 


[ 169 ] 


YOUR HOME AND ITS DECORATION — 


Rucs — Oriental, repeating colors introduced on walls and in hangings. 

PorTIERES — Same as over-curtains. 

FurNITURE — Mission type in Weathered Oak Stain, and upholstered 
wing chair in wool tapestry, repeating the colors introduced in the 
remaining parts of the room. 


Plate XX V. 


Ce1Ltinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Wa.L-paPER — Of Colonial Floral Design or Flat-tone Ivory with 
all-over stencil border in Pink, Rose, and Green. 

Woopwork — Birch — S-W Enamel White. Specification No. 18. 

FLtoor — Oak — Natural S-W Mar-not. Specification No. 21. 

Curtains — White Muslin or Duchess Scrim. 

OverR-cURTAINS — Roubaix Cloth Medallion, Col. 9965. 

Rucs — Scotch Caledon, Patt. No. 56, Col. E34. 

PorTIERES — Same as over-curtains, faced with Pink Sateen. 

FurNITURE — Mahogany chair and couch, slip-covers being made of 
over-curtain material or plain pink dimity with border No. 8000. 


Plate XX VI. 


CrILiInc — S-W Flat-tone White. Specification No. 33. 

WALL-PAPER — Finished with S-W Crystal Paper Varnish. 

Woopwork AND Warnscotinc — Keene Cement S-W Enamelastic 
White. Specification No. 20. 

FLoor — Maple — Natural Finish S-W Mar-not. Specification No. 22. 

Rucs — Hand-woven Rag Rugs in Green, Gray, and Cream. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER TY 


Plate XX VII. 


CreILING Panets — S-W Flat-tone Ivory 833. Specification No. 33. 

CoRNICE-PLASTER — Ege and Dart Relief Moulding finished with S-W 
Flat-tone Ivory 833 and S-W Flat-tone Glaze Colors, Raw Sienna, 
I part and Burnt Sienna, 'y part, reduced with S-W Glazing Liquid, 
and highlights wiped. Specification No. 34. 

CEILING BEAM AND PiLasTERs — S-W Ivory White Enamel. Speci- 
fication No. 19. 

Wa ti — S-W Flat-tone Buff 841 and S-W Glaze Colors; Raw Sienna, 
I part; Olive Lake, 4 part; and Burnt Sienna, 4 part, greatly 
reduced with S-W Glazing Liquid. Specification No. 34. 

Woopwork — Birch — S-W Ivory White Enamel. 

FLoor BorDER — Oak — Natural; three coats S-W Mar-not. Specifica- 
tion No. 21. 


[ 170 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Curtains — Cream Madras finished with two-inch hem and shirred 
to hang straight from rod. 

OVER-CURTAINS AND CHAIR Covers — Imported Cretonne, Ivory 
ground with all-over Rose design in soft Yellow, Rose, Olives, 
Browns, and Dull Blue, and finished with three-fourth inch flat 
ivory braid. 

Rucs — Velvet Wilton with figured center in Buff, Dull Red, Green, 
and Blue with Plain Green border. 

PorTIERES — Green Velour. 

Furniture — Mahogany upholstered in figured Wool Tapestry, Dull 
Brown, Rose, Green, Buff, and Blue predominating. 

Sipe Licut Brackets — Finished with S-W Art Metal finish, “‘ Copper 
Brown.” 


Plate XX VIII. 
CeiLtinc — S-W Flat-tone Ivory 833. Specification No. 33. 


WALL-PAPER — Colonial Print in Gray and Ivory; geometrical pattern. 

Woopwork AND Manrter — Birch — S-W Ivory Enamel. Specifica- 
tion No. 18. 

FLoor — Oak — Natural, three coats of S-W Mar-not. Specification 
No. 21. 

Curtains — Colonial Net, finished to hang straight to sill. 

OVER-CURTAINS AND VALANCE — Printed Shikii or Cretonne in rich 
Greens, Orange, Gray, and Blue. 

Rucs — Superbus Wilton, manufactured by the Nye & Wait Carpet 
Co., Auburn, N. Y., plain rich Red, center with two-toned border 
in darker tones. 

Factincs AND HeEartTH oF FIREPLACE — Buff Brick penciled in white 
mortar. 


FurRNITURE — Old Mahogany, Chippendale. 


Plate XXIX. 


Ceritinc — S-W Flat-tone Cream 832. Specification No. 33. 

Watt — Two-toned Ingrain Paper in Buff and Brown. 

Woopwork — Cornice and Ceiling Beams, Birch, S-W Ivory Enamel. 
Specification No. 19. 

FLoor—Oak— Natural, three coats of S-W Mar-not. Specification No. 21. 

Curtains — White Muslin finished with three-inch ruffle. 

Ruc — Hartford Saxony Rug, Bokhara Pattern in rich Brown, dull 
Red, Buff, and Green. 

FirepLace — Facing and Hearth, unglazed Tile 4” x 4,” deep Café au 
Lait Color 94 Tile. 

FuRNITURE — Mahogany. 


[171 | 


YOUR HOME AND AIS DECOKATION 


Plate XXX. 

Cr1Linc — S-W Flat-tone Buff 841. Specification No. 33. 

PLasteR RELIEF BorDER — S-W Flat-tone Ivory 833 and S-W Glaze 
Colors, Olive Lake, Raw Sienna, and Permanent Crimson Lake, 
all greatly reduced. Specification No. 34. 
Leaves slightly tinted with Olive Lake, and Fruit in Raw Sienna and 
Permanent Crimson Lake, highlights wiped. 

WaLL aND Woopwork — Oak — S-W Handcraft Stain Brown Oak. 
Specification No. 11. 

FLoor — Oak — S-W Handcraft Stain Brown Oak, reduced 300 per 
cent., and three coats of S-W Mar-not. Specification No. 25. 

Curtains — Ecru Net. 

OveER-cuRTAINS — Green Shiki Silk. 

Ruc — Donegal Rug in rich Brown, Orange, Green, dull Red, and 
Black. 

PorTIERES — Green Velour. 

CHANDELIER SHADE — Green Silk. 

FURNITURE — Finished to match woodwork. 


Plate XXXT. 


Critinc — S-W Flat-tone White. Specification No. 33. 

Watt — Floral Paper, White Ground with design in Blue, Green, Rose, 
and soft Cream. 

WoopworkK— White Wood—S-W White Enamel. Specification No. 18. 

FLoor — Oak — Natural, S-W Mar-not. Specification No. 21. 

Curtains — White Muslin, finished with three-inch ruffle. 

OVER-CURTAINS AND VALANCE — Jaspe Toile in Blue, with finished 
border in Blue and White. 

Rucs — Domestic Rugs in Gray, Blue, and Dull Red. 

FURNITURE — S-W Enamelastic White. 


Plate XXXII. 


Cr1Linc — S-W Flat-tone System Effect No. 1, obtained by S-W Flat- 
tone Ivory 833 and S-W Glaze Colors; Indian Yellow, 3 parts; 
Permanent Crimson Lake, 1 part, both greatly reduced. Specifica- 
tion No. 34. 

Watt — S-W Golden Brown grass cloth. 

Woopwork — Birch — S-W Ivory Enamel. Specification No. 19. 

HAND-RAIL AND TREADS — Birch — S-W Handcraft Stain Mahogany. 
Specification No. 16. 

FLoor — Oak — S-W Handcraft Stain Mahogany, reduced 600 per 
cent. with S-W Handcraft Stain Reducer, and three coats of S-W 
Mar-not. Specification No. 25. 


tis] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


CurTAINs — Unica Madras in Café au Lait. 

RucGs — Oriental, Kermanshah or Whittall in Oriental designs and 
colors. 

PorTIERES — Rich Red Portieres in Velour or ‘Tapestry. 

ELECTRICAL FixTuRES — Burnished Brass. 


Plate XX XIII. 


Critinc — S-W Flat-tone Cream 832. Specification No. 33. 

WALL — Striped Ingrain Paper in two tones of Green. 

Woopwork — Birch — S-W Ivory Enamel. Specification No. 18. 

FLoor — Oak — Natural S-W Mar-not. Specification No. 21. 

Curtains — Figured Muslin, full length and finished with three-inch 
ruffle. 

OVER-CURTAINS, DRAPERIES, AND LAMp SHADE — French Cretonne, 
Ivory ground and Rose design in Pink and Green. 

Rucs — Plain Green Drugget with smaller Oriental Rugs in Green, 
Ivories, Rose, and Old Blue. 

FURNITURE — S-W Ivory White Enamel, Wing chair, Mahogany frame 
covered with Printed Art Ticking in tones of Green and Rose. 

ELectTricAL Fixtures — Dull Brass. 


Plate XXXIV. 


Certinc — S-W Flat-tone White 830. Specification No. 33. 
Watt — Specially Varnished Paper or S-W Flat-tone Lichen Gray 837. 
Specification No. 33. 

WalInscoTING — Keene Cement, marked off to represent Tile and 
finished with S-W Enamelastic White. Specification No. 20. 
Woopwork — Birch — S-W Enamelastic White. Specification No. 17. 
FLoor — Maple — Natural, three coats of S-W Mar-not. Specifica- 

tion No. 22. 
Curtains — White Muslin. 
Rucs — Greblo Rugs in Gray, Green, and White. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER VI 


Plate XXXV. 

CeiLinc — S-W Flat-tone Buff Stone 839. Specification No. 33. 

Watt — S-W Flat-tone Maple Green 836. Specification No. 33. 

Srencit No. 46 — Leaves — S-W Flat-tone Glaze Colors, Olive Lake, 
1 part; Raw Sienna, 4 part; and Stencil White, } part. Flowers, 
S-W Glaze Colors, Raw Sienna, 1 part; and Stencil White, 1 part. 

Woopwork — Oak — S-W Handcraft Stain Weathered Oak. Speci- 

} fication No. 9. 


L373. 


YOUR HOME AND ITS DECORATION 


FLoor — Oak — S-W Handcraft Stain Weathered Oak, reduced 300 
per cent. Specification No. 25. 

Curtains — Ecru Net, made sill length. 

OvER-CURTAINS — Quality-A, Tapestry Venetian Silk in Green, match- 
ing wall tint. 

Rucs — Whittall Rugs. 

PorTIERES — Green Monks’ Cloth. 

FURNITURE — Weathered Oak upholstered in Green Monks’ Cloth. 


Plate XXX VII. 


Curtains — White Muslin, made sill length. 

OVER-CURTAINS — Sage Green Casement Cloth with Stencil No. 11, 
used as border in Green and Brown; Needles, S-W Stencil Colors, 
Olive Lake, 1 part; Permanent Crimson Lake, 75 part; and Stencil 
White, } part. Cones, Burnt Sienna, 1 part; Olive Lake, 1 part; 
Raw Sienna, 4 part. 


Plate XXXIX. 

Critinc — S-W Flat-tone Cream 832. Specification No. 33. 

Watt — S-W Flat-tone Old Gold 840. Specification No. 33. 

FRIEZE — Wall Paper in Gray, Yellow, Green, and White, Rose and 
Lattice design. 

Woopwork — Birch — S-W Handcraft Stain Silver Gray. Specifica- 
tion No. g. 

FLoor — Oak — S-W Handcraft Stain Silver Gray, reduced 300 per 
cent. Specification No. 25. 

Curtains — White Dimity, made sill length. 

OveER-CURTAINS — Figured Cretonne Rose Lattice design in Yellow, 
White, and Green. 

BED-cOVERINGS — White Dimity over Yellow slip. 

Ruc — Domestic Rug in rich Green. 

FURNITURE — Bird’s-Eye Maple in S-W Handcraft Stain Silver Gray, 
rubbed finish. Specification No. 15. 

PorTIERES — Golden Brown Velour. 


Plate XL. 

CriLinc — S-W Flat-tone White. Specification No. 33. 

Watt — S-W Flat-tone White and S-W Glaze Colors, Olive Lake, 1 part; 
Cobalt, 1 part; and Florentine Lake, 75 part, greatly reduced with 
S-W Glazing Liquid. Specification No. 34. 

STENCIL No. 13—Stenciled in Flat-tone Lichen Gray tinted with 
Glaze Color, upper part of body, Alizarin Green; light lower part, 
Cobalt; tail feathers, Raw Sienna. 


[ 174 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Woopwork — Chestnut — S-W Handcraft Stain BrownOak. Specifica- 
tion No. 10. 

FLoor — Maple — S-W Handcraft Stain Brown Oak, reduced 300 per 
cent. Specification No. 26. 

Curtains — Gray Linen Crash with Stencil No. 13 used as border across 
bottom, applied with S-W Stencil Colors, Alizarin Green, Light 
Cobalt, Raw Sienna, Permanent Crimson Lake, and_ Stencil 
White. 

VALANCE — Same as over-curtains with Stencil No. 13a, applied as 
shown in same colors as No. 13. 

Ruc — Donegal Rug in Gray, Blue, and Green. 

Winpow CusHrions — Green Arras Cloth. 

PorTIERES — Green Arras Cloth with applique band of Gray Linen, 
decorated with Stencil No. 13A at intervals to match over-curtains’ 
decoration. 

FURNITURE — Craftsman style finished with S-W Handcraft Stain 
Brown Oak, Mission finish. Specification No. 11. 


Plate XLITI. 


Critinc — S-W Flat-tone White. Specification No. 33. 

Watt — S-W Flat-tone Shell Pink 829 and S-W Glaze Colors, Cobalt, 
1 part; Permanent Crimson Lake, 1 part; and Italian Pink, 4 part, 
all reduced greatly with S-W Glazing Liquid. Specification 
No. 34. 

STENCIL No. 6 — S-W Flat-tone Glaze Colors, Stencil White, 1 part; 
Raw Sienna, ¢ part. 

Woopwork — Whitewood — S-W Ivory White Enamel. Specification 
No. 18. 

FLoor — Hard Pine — Natural S-W Mar-not. Specification No. 22. 

CurTAINS — Colonial Net. 

REcEss CuRTAINS AND VALANCE — In Green Velour lined with Rose 
Sateen and finished with Metal Galloon. 

Rucs — Velvet Wilton in Empire design with Green, Rose, Ivory, and 
Dull Blue predominating. 

PortTiERES — Green Velour to match curtains. 


Furniture — Inlaid Mahogany, finished light. 


Plate XLIV. 
CEILING AND Drop —S-W Flat-tone Ivory 833. Specification 
No. 33. 


Watt — S-W Flat-tone Ivory 833 and S-W Glaze Colors, Olive Lake, 
1 part; Cobalt, } part; and Permanent Crimson Lake, jp part, 


greatly reduced with S-W Glazing Liquid. Specification No. 34. 
[175 ] 


YOUR HOME AND ITS DECORATION 


Woopwork AND WaINscoTinG — Poplar — S-W Enamelastic White. 
Specification No. 19. 

FLoor — Oak — Natural S-W Mar-not. Specification No. 21. 

Curtains — Arabian Net Panels. 

OveER-CURTAINS AND VALANCE — Green Velour, appliqued in Rose, 
Ivory, and Gold. 

Rucs — Anbusson Rugs of Louis XVI. period in Green, Rose, Ivory, 
and Blue. 

PorTIERES — To match hangings. 

Furniture — Louis XVI. in Mahogany and Gilt, upholstered in An- 


busson Tapestries. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER VIII 


Plate LXV. 


Bopy — S-W Preservative Shingle Stain B44. Specification No. 2. 

Trimminc — S-W P. 462. Specification No. 1. 

SasH — S-W P. 462. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C73. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu CeEr1Linc — S-W P. 462. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Brown Oak. Specification 
No. 4. 


Plate LX VI. 


CEILING BETWEEN BEams—S-W Flat-tone System Effect No. 1, 
obtained, S-W Flat-tone Ivory 833 and S-W Glaze Colors, Indian 
Yellow, 3 parts; Permanent Crimson Lake, 1 yet both greatly 
reduced. Specification No. 34. 

Watt — S-W Flat-tone Aurora Yellow 825. Specification No. 33. 

Woopwork AND WaInscoTiInc — Oak — S-W Handcraft Stain Ant- 
werp Oak. Specification No. 9. 

FLoor — Oak — S-W Handcraft Stain Antwerp Oak, reduced go per 
cent. Specification No. 25. 

Curtains — Cream Madras. 

Over-curRTAINS — Rich Brown Cloister Cloth with Valance of the same 
material, to which Stencil No. 74 has been applied in Dull Green, 
Rich Yellow, and Orange, and covered with heavy Brown Green Silk. 

Rucs — Scotch Caledon in Brown Green with simple border in Rich 
Browns. 

PorTIERES — Same as over-curtains, omitting Valance. 

FURNITURE — Mission type in Antwerp Oak Stain. 


[ 176 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Plate LX VII. 


Bopy Cement — S-W Concrete and Cement Finish No. 105.  Speci- 
fication No. 6. 

Trimminc — S-W Preservative Shingle Stain B48. Specification No. 7. 

SasH — S-W P. 462. Specification No. 1. 

Roor — Red Tile. 

PorcH FLoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CEILInc — S-W P. 482. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


Plate LX VITI. 


Bopy — S-W Concrete and Cement Finish No. 75. Specification No. 6. 

Trimminc — S-W P. 371. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C71. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CeErLtinc — S-W Gloss White. Specification No. 1. 

Ex. Doors — Ash — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


Plates LXIX and LXX. 


Critinc — S-W Flat-tone Lichen Gray 837. Specification No. 33. 

Watt — S-W Flat-tone White and S-W Glaze Colors, Olive Lake, 1 
part; Cobalt, 1 part; and Florentine Lake, ;y part, all greatly 
reduced with S-W Glazing Liquid. Specification No. 34. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 18. 

Treaps, Hanp-raiL, AND Doors — Birch — S-W Handcraft Stain 
Mahogany. Specification No. 16. 

Curtains — Unica Madras Ecru, striped in Green. 

Over-curTAINS — Green Linen with Stencil No. 28y used as border in 
S-W Olive Lake. 

Rucs — Oriental Smyrna or Saruk, Green, Rose Blue, and Ivory pre- 
dominating. 

PortTiERES — Green Linen or Velour. 

FURNITURE — Colonial Mahogany. 


Biaté LX XI. 


Ceitinc — S-W Flat-tone White. Specification No. 33. 
Watt — S-W Flat-tone Pale Azure 843. Specification No. 33. 
Woopwork — Birch — S-W White Enamel. Specification No. 18. 


Resa 


YOUR HOME AND ITS DBCORATION 


FLoor — Maple — Natural S-W Mar-not. Specification No. 22. 
Curtains — White Muslin. 

Over-cuRTAINS — Figured Blue and White English Cretonne. 
BEep-covEeRs — White Swiss over Blue Slip. 

Rucs — Dorothy Vernon Hand-woven Rag Rugs in Gray, Blue, White. 
FuRNITURE — Mahogany. 


Plate LX XII. 

Bopy — Logs. 

Trimminc — S-W Preservative Shingle Stain B45. Specification No. 7. 

SasH — S-W Gloss White. Specification No. 1. 

Gas_es — S-W Preservative Shingle Stain B45. Specification No. 2. 

Roor — S-W Preservative Shingle Stain C71. Specification No. 2. 

PorcH Fioor—S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu Ce1Linc — S-W P. 479. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Tavern Oak. Specification 
No. 4. 


Plate LX XIII. 


Upper Bopy — S-W Preservative Shingle Stain B45. Specification No.2. 

Lower Bopy — Field Stone. 

TRIMMING — S-W P. 393. Specification No. 1. 

SHUTTERS — S-W P. 393. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B48. Specification No. 2. 

PorcH FLtoor—S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH Cr1Lt1nc — S-W Kopal Varnish. Specification No. 3. 

Ex. Doors — Oak — S-W Handcraft Stain Brown Oak. Specification 
No. 4. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER IX 
Plate LXXVI. 


Bopy — S-W P. 462. Specification No. 1. 

Trimminc — S-W Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B42. Specification No. 2. 

PorcH FLoor — 8-W Porch and Deck Paint No. 48. Specification No. 
8. 

Porcu CriLtinc — S-W P. 462. Specification No. 1. 

Ex. Doors — Birch — S-W Handcraft Stain Mahogany. Specification 
No. 4a. 


Lenya] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Plate LXX VII. 


Bopy — S-W P. 351. Specification No. 1. 

‘TRimMinc — S-W Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

SHUTTERS — S-W P. 4098. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C73. Specification No. 2. 

PorcH FLoor—S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu Cer1Linc — S-W P. 479. Specification No. 1. 

Ex. ne — Birch — S-W Handcraft Stain Mahogany. Specification 

o. 16. 


Plate LXX VIII. 


Bopy — S-W P. 375. Specification No. 1. 

‘TrimmMinc — S-W Gloss White. Specification No. 1. 

SasH — S-W White Gloss. Specification No: 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C75. Specification No. 2. 
PorcH FLoor—S-W Porch and Deck Paint No. 48. Specification No. 8. 
PorcH Cerr_inc — S-W P. 462. Specification No. 1. 

Ex. Doors — Birch — S-W Enamelastic White. Specification No. 40. 


Plate LX XIX. 


Bopy — S-W Preservative Shingle Stain B43. Specification No. 2 

Trimminc — S-W P. 462. Specification No. 1. 

SasH — S-W P. 462. Specification No. 1. 

SHuTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B44. Specification No. 2. 

Porcu Fioor — S-W Porch and Deck Paint No. 48. Specification 
No. 8. 

PorcH CeiLinc — S-W P. 462. Specification No. 1. 

Ex. Doors — Birch — S-W Enamelastic White Exterior, tinted Ivory. 
Specification No. 40. 


Plate LXXX. 

Cr1tinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Wa i — S-W Flat-tone Old Gold 840. Specification No. 33. 

Woopwork — Birch — S-W Enamelastic White Rubbed Finish. Speci- 
fication No. 18. 

StaiRwAY AND Doors — Birch — S-W Handcraft Stain Mahogany, 
Rubbed Finish. Specification No. 16. 

FLoor — Oak — Natural Finish, three coats of S-W Mar-not. Specifi- 
cation No. 21. 


[ 179 | 


YOUR HOME AND ITS DECORAFION 


Curtains — Colonial Net. 
Rucs — Oriental Smyrna and Serapi. 
FuRNITURE — Colonial, upholstered in Green Haircloth. 


Plate LXXX1I. 


Ce1tinc — S-W Flat-tone System Effect No. 1, obtained by S-W Flat- 
tone Ivory 833 and S-W Glaze Colors, Indian Yellow, 3 parts; 
Permanent Crimson Lake, 1 part, both greatly reduced. Specifi- 
cation No. 34. 

Watt — S-W Flat-tone System Effect No. 10, obtained by S-W Flat- 
tone Aurora Yellow and S-W Glaze Colors, Olive Lake and Burnt 
Sienna, equal parts. Specification No. 34. 

WoopworkK, INCLUDING CoRNICE, PILASTERS, ETC.— Whitewood — 
S-W Ivory Enamel. Specification No. 18. 

FLoor — Oak — Natural, three coats S-W Mar-not. Specification No. 
Die 

Curtains — White Net. 

OvER-CURTAINS AND VALANCE — Golden Brown Velour, lined next to 
glass with Ivory Sateen. 

Rucs — Oriental Caucassian in Red. 

PorRTIERES — Same as over-curtains, lined to match treatment of 
adjoining rooms. 

FurnNiTURE — Mahogany, upholstered in Wool Tapestry, with Red, 


Green, Brown, Orange, and Red predominating. 


Plate LXXXII. 


Creitinc — S-W Flat-tone Cream 832. Specification No. 33. 

Watt — Tapestry Paper in Buff, rich Blue, Green, and Rose. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 19. 

FLoor — Oak — Natural, three coats S-W Mar-not. Specification No. 
94M be 

Curtains — White Net. 

OveER-CURTAINS — Blue Velour finished with two-inch Metal Galloon. 

Rucs — Oriental Kirmanshah or Velvet Wilton in rich Blue. 

PorTIERES — Blue Velour, to match over-curtains. 

FURNITURE — Mahogany. 


Plate LXXXITII. 


CriLtinc — S-W Flat-tone Ivory 833. Specification No. 33. 

WoopworkK AND Watts — Whitewood — S-W Enamelastic White. 
Specification No. 18. 

FLoor — Oak — Natural, three coats of S-W Mar-not. Specification 
Now 31s 


aso.) 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


Curtains — White Net, full length. 

VALANCE — Rose Velour. 

OveR-MANTEL — Colonial mirror with gilt frame. 

Rucs — Large Rug in Gray, Green, and Rose, with smaller Orientals in 
harmonious Greens, Blues, Dull Red, Ivory, and Rose — Kirman- 
shah, Serapi, and Smyrna appropriate. 

FURNITURE — Hepplewhite upholstered in figured brocade. 


Plate LXXXIV. 


Critinc — S-W Flat-tone White 830. Specification No. 33. 

FRIEZE — Tapestry Paper, Landscape design inGray, Blue, Rose, Green, 
and Orange. 

Woopwork AND WainscotTinc — Birch —S-W Enamelastic White. 
Specification No. 19. 

FLoor — Maple — Natural, three coats of S-W Mar-not. Specification 
No. 22. 

Curtains — White Net. 

OverR-cuRTAINS — Blue Shikii Silk. 

Rucs — Large Velvet Wilton in rich Blue, Gray, and Green, covered 
with smaller rugs and skins. 

FURNITURE — Mahogany upholstered in Blue Panne Velvet. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER X 


Plate LXXX VJ. 


Cr1tinc — S-W Handcraft Stain Early English Oak reduced 125 per 
cent. Specification No. 11. 

Watt — S-W Flat-tone White and S-W Glaze Colors, Olive Lake,1 part; 
Cobalt, 1 part; and Florentine Lake, 3p part, all greatly reduced 
with S-W Glazing Liquid. Specification No. 34. 

Woopwork — S-W Enamelastic. Specification No. 18. 

FLtoor — Oak — S-W Handcraft Stain Early English Oak, reduced go 
per cent. Specification No. 25. 

Hanocincs — Rich Blue Velour. 

Rucs — Oriental or Persian design in Ivory, Green, Blue, Rose, and 
Slate. 

Furniture — Early Victorian, stained Early English Oak, and uphol- 
stered chairs with slip-coversof English Chintz carrying Blue, Green, 
and Gray on Ivory ground. 


Plate LXXXVI. 


Bopy — S-W Concrete and Cement Finish No. 105. Specification 
No. 6. 


[ 181 | 


YOUR HOME AND ITS DECORATION 


TRIMMING AND SASH — S-W Preservative Shingle Stain B47. Specifi- 
cation No. 7. 

Roor — S-W Preservative Shingle Stain B48. Specification No. 2. 

PorcH FLoor — S-W Porch and Deck Paint No. 49. Specification No. 
8. 

PorcH CEILING — Same as trimming. 

Ex. Doors — Oak — S-W Handcraft Stain Early English Oak. Speci- 
fication No. 4. 


Plate LXXXVII. 


Bopy — S-W Concrete and Cement Finish No. 75. Specification No. 6. 

Hair TimBer and Biinps —S-W Preservative Shingle Stain B48. 
Specification No. 7. 

SAsH — S-W P. 462. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B46. Specification No. 2. 

PorcH FLtoor—S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CEILING — Same as half timbers. 

Ex. Doors — Oak — S-W Handcraft Stain Cathedral Oak. Specifi- 


cation No. 4. 


Plate LXXXVITI. 


Bopy — S-W Concrete and Cement Finish No. 75. Specification No. 6. 

Lower Bopy — Gray selected Filed Stone or Concrete Blocks. 

TRimmMinc — S-W Preservative Shingle Stain B46. Specification No. 7. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C75. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 46. Specification 
No. 8. 

Porcu CEILinc — 8-W P. 387. Specification No. 1. 

Ex. Doors — Ash — S-W Handcraft Stain Brown Oak. Specification 
Now.s. 


Plate LXXXIX. 


Uprer Bopy — S-W Concrete and Cement Finish No. 95. Specifica- 
tion No. 6. 

Lower Bopy —S-W P. 485. Specification No. 1. 

TRIMMING AND BLinps — S-W Preservative Shingle Stain C83. Speci- 
fication No. 7. 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain B41. Specification No. 2. 

PorcH Fioor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 


[ 182 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


PorcH CeiLinc — S-W P. 462. Specification No. 1. 
Ex. Doors — Oak — S-W Handcraft Stain Weathered Oak. Specifi- 


cation No. 4. 


Plate XC. 


Bopy—S-W Concrete and Cement Finish No. 105. Specification No. 6. 

Harr Timpers — S-W Preservative Shingle Stain B48. Specification 
No. 7. | 

SasH — S-W Gloss White. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C75. Specification No. 2. 

PorcH FLoor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

Porcu CErILinc — S-W P. 462. Specification No. 1. 

Ex. Doors — Oak — S-W Handcraft Stain Tavern Oak. Specifica- 
tion No. 4. 


Plate XCI. 


Cr1tinc — S-W Handcraft Stain Silver Gray reduced 100 per cent. 
Specification No. 11. 

Wa tt — S-W Flat-tone System Effect No. 5, obtained by S-W Flat-tone, 
Buff 841 and S-W Glaze Colors, Orange Lake and Burnt Sienna, 
equal parts. Specification No. 34. 

Woopwork — S-W Handcraft Stain Silver Gray. Specification No. 11. 

FLoor — Oak — S-W Handcraft Stain Silver Gray, reduced §0 per cent. 
Specification No. 25. 

Curtains — Unica Mercerized Madras. 

Over-cuRTAINS — Rich Brown Cloister Cloth. 

Rucs — French Wilton or Donegal in Blues, Gray, and Browns. 

PorTIERES — Same as Over-curtains. 

FurNITURE — Silver Gray or Mission Type with Mahogany-stained 
wicker, cushioned and upholstered in rich Brown and dull Burnt 
Orange fabrics and leather. 


Plate XCII. 


Bopy — S-W Concrete and Cement Finish White. Specification No. 6. 

TRIMMING AND SasH — S-W Preservative Shingle Stain B44. Speci- 
fication No. 7. 

Gas_e — Greuby Tiles in Terra Cotta, Blue, and Green. 

Roor — S-W Preservative Shingle Stain B41. Specification No. 2. 

Porcu Froor—S-W Porch and Deck Paint No. 49. Specification No.8. 

Porcu CEILING — Same as trimming. 

Ex. Doors — Oak — S-W Handcraft Stain Old English Oak. Speci- 
fication No. 4. 


[ 183 ] 


YOUR. HOME AND AT& DECORATION 


SPECIFICATIONS FOR ILLUSTRATIONS: IN CHAPTEReax1 


Plate XCIV. 


CriLinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Wa i — S-W Flat-tone System Effect No. 23, obtained by S-W Gold 
Size and Aluminum Bronze and S-W Glaze Colors, Olive Lake, 1 
part; Alizarin Green, Light, 1 part; Cobalt Blue, 1 part; Raw 
Sienna, } part. Specification No. 34. 

Watt Panet Decoration — Fourteenth Century Anbusson Tapes- 
tries, in rich Blues, Terra Cottas, Greens, Rose, Orange, and Gold. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 18. 

FLoor — Oak — Natural, three coats of S-W Marnot. Specification 
Nog 71. 

Curtains — Ecru Etamine heavily appliqued in Silk. 

OvER-CURTAINS — Green Velour. 

Rucs — Oriental. 

PoRTIERES — Green Velour. 

FURNITURE — Louis XIV. period gilded frames, upholstered in Brocade 
trimmed with Gold. 


Plate XCVI. 


CeiLtinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Wa ti — S-W Flat-tone System Effect No. 24, obtained by S-W Gold 
Size and Aluminum Leaf and S-W Glaze Colors, Raw Sienna, I part; 
Burnt Sienna, 1 part, greatly reduced. Specification No. 34. 

RevieF Decorations — Finished with S-W Flat-tone Ivory 833 and 
touched up with Glaze Colors, Olive Lake, Permanent Crimson 
Lake, and System Effect No. 24. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 19. 

FLoor — Oak — Inlaid, finished natural, S-W Mar-not. Specifica- 
tion No. 21. 

CurTAINsS — Silk Brocade in Rose, Green, and Gold. 

FurNiITURE — Louis XVI. period, upholstered in Brocade Satin in Rose, 
Green, Ivory, Gold, and Blue. 


Plate XCVII. 


Cr1Linc — S-W Flat-tone Old Gold 840. Specification No. 33. 

Wa ui — Covered with fabrics of Ivory ground with Diaper Pattern in 
Gold and Blue. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 18. 

FLroor — Oak — Inlaid, finished natural, S-W Mar-not. Specifica- 
tion" No 2r 

Curtains — Arabian Net. 


[ 184 ] 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


OVER-CURTAINS, BEDCOVERINGS, AND FurNiruRE UpHoLsTeRING — 
Embroidered Tapestries. 
Furnirure — Inlaid Mahogany finished with S-W Mahogany, Light. 


Plate XCVITI. 


Cr1Linc — S-W Flat-tone Buff Stone 839. Specification No. 33. 

Watt — Covered with Tapestry. 

WoopWoRK AND SCREEN — Oak — Heavily Carved and_ Inlaid, 
finished with S-W Handcraft Stain Cathedral Oak. Specification 
No. 14. 

FLoor — Oak — S-W Handcraft Stain Cathedral Oak, reduced 300 per 
cent. Specification No. 25. 

FURNITURE — Finished same as woodwork. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER XII 


Plate XCIX — Dining-room. 


Ce1Linc — S-W Flat-tone Ivory 833. Specification No. 33. 

Watt — S-W Flat-tone Buff Stone 839. Specification No. 33. 

Woopwork — Oak — S-W Handcraft Stain Brown Oak. Specifica- 
tion No. 9. 

FLoor — Oak — S-W Handcraft Stain Brown Oak, reduced 75 per 
cent. Specification No. 25. 

Over-curTAINS — Blue Cloister Cloth with Applique and Valance of 
Natural Color Linen to which a Stencil has been applied. 

Rucs — Thread and Thrum Negamo 1425/381. 

PorTIERES — Same as over-curtains, omitting the valance. 

FurNiTURE — Mission Type in stain similar to that of woodwork. 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER XIII 


Plate CII. 


CeiLinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Watt — S-W Flat-tone Aurora Yellow 825 and S-W Glaze Colors, 
Burnt Sienna, 1 part, and Orange Lake, } part, both greatly reduced 
with S-W Glazing Liquid. Specification No. 34. 

Woopwork — Whitewood — S-W Ivory Enamel. Specification No. 
18. 

FLoor — Hard Pine — Natural, S-W Mar-not. Specification No. 
Dake 

Curtains — White Scrim. 

OveER-CURTAINS — Printed Cretonne in Buff, Green, Orange, and Dull 


Red. 
[ 185 ] 


YOUR HOME AND ITS DECORATION 


Rucs — Bokhara in rich Red, Green, Rose, and Old Blue. 
FIREPLACE, Facincs, AND HEarTH — Cinder-flecked Brick. 
FurNiTuRE — Mahogany. 


Plate CIV. 


Bopy — S-W P. 351. Specification No. 1. 

Trimminc — S-W Gloss White. Specification No. 1. 

SasH — S-W Gloss White. Specification No. 1. 

SHUTTERS — S-W P. 498. Specification No. 1. 

Roor — S-W Preservative Shingle Stain C73. Specification No. 2. 

PorcH Frioor —S-W Porch and Deck Paint No. 49. Specification 
No. 8. 

PorcH CeriLinc — S-W P. 479. Specification No. 1. 

Ex. Doors — Birch — S-W Handcraft Stain Mahogany. Specification 
No. 4a. 


Plate CV. 


CerLinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Watt — S-W Flat-tone System Effect No. 6, obtained by S-W Flat-tone 
Glaze Color White and S-W Glaze Colors, Permanent Crimson 
Lake, 1 part; Cobalt, y'y part, both greatly reduced. Specification 
No. 34. 

Woopwork — Birch — S-W Enamelastic White. Specification No. 18. 

FLoor — Maple — S-W Handcraft Stain Mahogany reduced 100 per 
cent. Specification No. 26. 

Curtains — Ecru Net. 

Over-cuRTAINS — Warm Gray Velour. 

Rucs — Tabriz carrying Rose, Gray, Ivory, and Old Blue. 

PorTIERES — Warm Gray Velour. 

FurNiTURE — Brothers Adam, upholstered in Brocade carrying Rose, 
Gray, and a touch of Old Blue. 


Plates CVI and CVI. 


CriLtinc — S-W Flat-tone Ivory 833. Specification No. 33. 

Watt — S-W Flat-tone Pearl Gray 838. Specification No. 33. 

Woopwork.— Birch — S-W Gray Enamel. Specification No. 18. 

FLoor — Oak — S-W Handcraft Stain Mahogany, reduced 125 per 
cent. Specification No. 25. 

CurTAINS — Cream Net. 

OveR-cuRTAINS — English Chintz carrying floral design in Pink, Rose, 
and Blue on Gray ground or Tapestryin Rose, Gray, Blue, and Green. 

Rucs — Superbus Wilton in Grays. 

FURNITURE — Gray Enamel in Brothers Adam Style. 


[ 186 | 


SPECIFICATIONS FOR THE ILLUSTRATIONS 


SPECIFICATIONS FOR ILLUSTRATIONS IN CHAPTER XIV 
Plate CIX. 


SILK ScarF — One and one-half yards of twenty-two inch Crepe de 
Chene, finished at ends with one and three-fourths inch hem- 
stitched hem. 

Stencil No. 1gy, 33-inch deep, is placed two and one-half 
inches above hemstitch and run within two and one-half 
inches of selvage. 

The colors are introduced as follows: A Gray Green for the 
leaves, produced with S-W Stencil Colors, Olive Lake, 1 part; 
Permanent Crimson Lake, $ part; Indian Yellow, }4 part ; 
and Stencil Medium, ;/5 part. A delicate tint of Blue Gray 
for petals is secured with a mixture of Prussian Blue, )s 
part; Permanent Crimson Lake, 5 part; and Stencil 
Medium, ;'y part. A Golden Yellow for centers using Indian 
Yellow, 1 part, and Stencil Medium, jy part. 


Plate CVITI. 


Musiin Curtains AND VALANCE — Stencil No. 33, 3x 12, placed 
two inches from two and one-half inch flat hem in a soft 
Blue, obtained by mixing 1 part of Stencil Color Cobalt with 35 
part Permanent Crimson Lake and {/y part Stencil Medium. 


Plate CX. 


CRAFTSMAN PiILLtow Cover — Rich Blue Monks’ Cloth, decorated in 
a lighter Blue. ‘Three-fourths yards of fifty-inch Monks’ Cloth at 
50c. or $1.25 per yard. 

Stencil No. 35, 63 x 7. 

S-W Stencil Colors, Cobalt, | part; Permanent Crimson Lake, 
zy part; Stencil White, 1 part; and Stencil Medium, 4’y part. 

Pillow Cover made twenty-five inches square finished with a flat 
two and one-half inch hemstitched in light blue floss. 

Stencil No. 35, arranged at corners and connected with center 
band as shown. 


Plate CXI. 


CreAM Scrim Curtain — Finished with two-inch hemstitched hem 
and two-inch heading. Two and one-fourth yards of forty-inch 
scrim at 3§c. is required for each curtain. 

Stencil No. 48, 24-inch wide, applied in soft Yellow for berries and 
Green Brown for stems. 


[ 187 ] 


YOUR HOME AND ITS DECORATION 


S-W Stencil Colors, Berries, Chrome Yellow, 1 part; Burnt 
Sienna, $ part, used for shading; and Stencil Medium, 4/5 
part. Stems, Olive Lake, 1 part; Burnt Sienna, 1 part; and 
Stencil Medium, ;'y part. 


Plate CXII. 


Cr1Linc — S-W Flat-tone Ivory 833. Specification No. 33. 

WaLL BELOW PLaTE SHELF —S-W Flat-tone Bright Sage 847. 
Specification No. 33. 

Frieze — S-W Flat-tone Lichen Gray 837. Specification No. 33. 

STENCIL No. 21, Leaves —S-W Glaze Colors, Olive Lake, 1 part; 
Raw Sienna, 4 part; and Stencil White, } part. Flowers, Permanent 
Crimson Lake, $ part; Cobalt, x49 part; and Raw Sienna, § part. 

Woopwork — Poplar — S-W Enamelastic White. Specification No. 
18. 

FLoor — Oak — S-W Mar-not. Specification No. 21. 

Curtains — White Madras, made sill length. 

OvER-CURTAINS — Printed Cretonne, white ground with Wisteria pattern 
in Lavender and Green. 

Rucs — Donegal rug in Green, Gray, Lavender, Orange, and Blue in 
center, and smaller rugs in Green placed at doorway. 

FuRNITURE — Mahogany chairs, upholstered in Green-striped Haircloth. 


[ 188 ] 


CHAPTER XXI 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


OW many coats and just what kind of varnish shall I use 
on this woodwork? What kind of paint shall I use on 
my porch floors? and many other similar questions are 

continually confronting the home builder. ‘Experience is decid- 
edly an expensive teacher,”? as many can testify after struggling 
through a faulty building contract. How vexatious it is to discover 
after the contract is signed, sealed, and delivered that it calls for 
only two coats of nameless white paint for the bathroom, when 
good work cannot possibly be accomplished in any less than five, 
or to find that only one brush coat is specified for the shingles, 
when they should be dipped one coat and brushed another, in order 
to get durable results. ‘These disappointments and many others 
can be eliminated by having all matters pertaining to the painting 
and decorating clearly and distinctly understood before the con- 
tract is signed. [he number of coats is just exactly as important 
as the kind of material. 

It is with these important points in view that the following 
specifications have been drawn up by the Sherwin-Williams Co. 
‘This company makes certain claims for its various materials which 
it cannot substantiate unless these materials are properly applied. 
‘These specifications are just as much of a protection to the manu- 
facturer as they are to the home builder. ‘They are complete in 
every detail—they tell the kind of material and number of coats 
for every kind of decorating. ‘They cover a great variety of surface 
treatments and then provide a contract as an additional safeguard. 


GENERAL CONDITIONS 


The contractor shall furnish all material, utensils, scaffolding, labor, 
transportation, and all such other necessaries or accessories as may be re- 
quired in the judgment of the architect or owner for the complete perform- 
ance of the work herein specified. 

The contractor shall keep a competent foreman on the premises; shall 
not sublet any part of this contract without the written consent of the owner 
or architect; shall take all necessary precautions to protect his work from 


[ 189 ] 


TOUR HOMEVAND TIS “DECCRATIORN 


injury of every kind during progress; shall be responsible for any damage 
that may be done by himself or his employees to property, whether 
such property belongs to the owner, tenant, neighbor, or any other 
party. 

The contractor shall be responsible for any and / or all accidents which 
may happen to himself, his foreman, his employees, and / or to the general 
public in or adjoining the premises, arising from neglect, accident, or intent 
on the part of himself or employees during such time as this contract is 
being fulfilled. 

All materials used in painting and finishing shall be the same as herein 
specified; said materials shall be delivered at the building in the original 
packages with seals unbroken and labels attached; said original packages 
not to be used until inspected by architect or owner. 

All labor shall be performed in a thoroughly first-class manner by skilled 
workmen; such workmanship shall be subject to the approval of the archi- 
tect or owner. 

The contractor shall notify the architect if anything is omitted from the 
drawings or specifications which may be necessary to clear understanding 
of the work and of what will accomplish the best finished results. The 
contractor will make good any damage or defect if he does not give archi- 
tect such notification. . 

The contractor shall examine all woodwork or other surface before first- 
coating it, and if such woodwork or surface is not in the required suitable 
condition to paint or varnish, he shall report to the owner or architect and 
await his or their instructions before applying the first coat thereon. Draw- 
ings and specifications furnished for this work are instruments of service 
for this building: only and are the property of)... “3200052. .0 . ee 
They must be returned to him immediately upon completion of the work 
herein specified. 

The contractor shall clear out all rubbish and surplus material left by 
him, upon completion of the work specified. He shall clean all paint and 
varnish spots from the walls, floors, glass, etc., and shall leave premises 
broom clean. 

The architect reserves the right to reject any or all bids. 

(For amount of woodwork to be finished see carpenter’s specifications. ) 

Care should be taken to apply varnish and enamels in a suitable tem- 
perature, never when the thermometer indicates lower than 46 degrees; 
about 70 degrees Fahrenheit is the proper temperature. 

Cover all sap, knots, and defects in woodwork, which is to be painted, 
with a good coat of pure denatured alcohol; shellac before priming, putty 
up all nail holes, cracks, or defects after priming. 

All window and door-frames, which are built into masonry, are to be 
back primed and allowed to become thoroughly dry before setting in place. 


[ 190 ] 


Pro 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


SPECIFICATION NO. I — EXTERIOR 


Paint all exterior woodwork with three coats of Sherwin-Williams Paint, 
prepared, in colors as directed. The goods shall be thinned for use with 
pure raw linseed oil and pure spirits turpentine in manner approved by the 
architect. 


SPECIFICATION NO. 2 — SHINGLES 


All shingles to be dipped two-thirds their length in Sherwin-Williams 
Preservative Shingle Stain before being put on, the colors to be as directed; 
afterwards apply one brush coat of same stain. 


SPECIFICATION NO. 3 — PORCH CEILINGS 


All porch ceilings, designated “varnish finish” by architect, shall be 
finished as follows: First, apply one coat of Sherwin-Williams Hard Dry- 
ing Coater, and, after thoroughly dry, sand with oo sandpaper. ‘Two coats 
of Sherwin-Williams Kopal Varnish shall then be applied, the first coat of 
which shall be thinned with Io per cent. pure spirits turpentine, and, when 
thoroughly dry, sanded with 00 sandpaper. ‘The second coat of Kopal shall 


be applied as it comes from the can. 


SPECIFICATION NO. 4 — EXTERIOR DOORS, OAK OR OTHER OPEN-GRAIN WOOD 


First apply a coat of Sherwin-Williams Handcraft or Golden Oak Stain 
(Note.— If Handcraft Stain is used, apply light coat of Mission-lac before 
filling), in color selected by owner or architect. After thoroughly dry, the 
wood shall then be filled with Sherwin-Williams Paste Filler, shade selected 
by owner or architect, sand down smooth with oo sandpaper and follow 
with one coat of Sherwin-Williams Hard Drying Coater, sanding this coat 
with 00 sandpaper to a perfect surface. Two coats of Sherwin-Williams 
Durable Spar Varnish or Sherwin-Williams Durable Wood Finish Exterior 
or Sherwin-Williams Kopal Varnish, as selected by the architect or owner, 
shall then be applied, allowing sufficient time for thorough drying before 
applying the second coat. Sandpaper first coat of varnish to a perfect sur- 
face with oo sandpaper and rub last coat with pumice-stone and oil to a 


dull finish. 
SPECIFICATION NO. 4a — EXTERIOR DOORS, BIRCH 
OR OTHER CLOSE-GRAIN WOOD 
First apply a coat of Sherwin-Williams Handcraft or Golden Oak Stain, 
in color selected by owner or architect. After thoroughly dry, follow 
with one coat of Sherwin-Williams Hard Drying Coater, sanding this coat 
with 00 sandpaper to a perfect surface. Two coats of Sherwin-Williams 


Durable Spar Varnish or Sherwin-Williams Durable Wood Finish Exterior 


or Sherwin-Williams Kopal Varnish, as selected by the architect or owner, 


[ 191 ] 


YOUR HOME AND ITS DECORATION 


shall then be applied, allowing sufficient time for thorough drying before 
applying the second coat. Sandpaper first coat of varnish to a perfect sur- 
face with oo sandpaper and rub last coat with pumice-stone and oil to a 


dull finish. 


SPECIFICATION NO. § — METAL 


Paint all tinwork or roofs, gutters, valleys, etc., and all ironwork with 
two coats of Sherwin-Williams Metalastic, one coat on both sides before 
putting in place and one coat after tin, etc., is in place. All tinwork shall 
be free from rosin and acid, and the rust and scale removed from all iron 
by scraping, wire brushing, or other effective means before paint is applied. 


SPECIFICATION NO. 5a——METAL TILING 


All rust and scale shall first be removed by scraping, wire brushing, or 
other effective means. One coat of Sherwin-Williams Galvanized Iron 
Primer shall then be applied and, when thoroughly dry, followed with two 


coats of Sherwin-Williams Paint (prepared), in color selected. 


SPECIFICATION NO. 6 — CEMENT, CONCRETE, AND STUCCO FINISH 


First apply a coat of Sherwin-Williams Concrete and Cement Weather- 
proof Coating, and when thoroughly dry follow with two coats of Sherwin- 
Williams Concrete and Cement Finish, in color selected by owner or archi- 
tect, Sueimenn ume shall hevallowed, between coats tar thorough drying. 


SPECIFICATION NO. 6a—CEMENT AND CONCRETE FLOOR FINISH 
(INTERIOR OR EXTERIOR) 


First apply a coat of Sherwin-Williams Concrete and Cement Weather- 
proof Coating and, when thoroughly dry, follow with two coats of Sherwin- 
Williams Concrete and Cement Floor Finish (interior or exterior), in color 
selected by owner or architect. Sufficient time shall be allowed between 
coats for thorough drying. 


SPECIFICATION NO. 7 — STAINED EXTERIOR FINISH 


First apply one coat of Sherwin-Williams Preservative Shingle Stain, in 
color selected by owner or architect, thinned to shade desired, and follow 
with two coats of Sherwin-Williams Pure Boiled Linseed Oil, which shall 
be thinned Io per cent. with pure spirits turpentine. 


SPECIFICATION NO. 8 — PORCH FLOORS 


Apply three coats of Sherwin-Williams Porch Floor Paint, in colors as 
directed. The goods shall be thinned for use with pure raw linseed oil and 
pure spirits turpentine in manner approved by architect. 


[ 192 ] 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


SPECIFICATION NO. Q —— INTERIOR — MISSION FINISH, ON ANY WOOD 


All interior woodwork in the following rooms shall be finished as follows: 
A coat of Sherwin-Williams Handcraft Stain shall first be applied, in color 
selected by owner or architect. ‘The stain shall be followed with two coats 
of Sherwin-Williams Mission-lac, the first coat of which shall be sandpapered 
with oo sandpaper and the second coat lightly rubbed to a dull finish with 
pumice-stone and oil. 


SPECIFICATION NO. IO— WAX FINISH, ON ANY WOOD 


All interior woodwork in the following rooms shall be finished as follows: 
First, the bare wood shall receive one coat of Sherwin-Williams Handcraft 
Stain, color to be selected by owner or architect, and allowed to dry over night. 
Then apply one coat of Sherwin-Williams iene lac, allow time to dry 
thoroughly, sandpaper to a smooth, dull surface and apply Sherwin-Williams 
Furniture Wax with a soft cloth, ks off all surplus wax, bringing work to 
a wax polish. 


SPECIFICATION, NO. LI-- VELVET FINISH, ON ANY WOOD 


All interior woodwork in the following rooms shall be finished as follows: 
A coat of Sherwin-Williams Handcraft Stain shall first be applied, in color 
selected by owner or architect. ‘The stain shall be followed with one coat 
of Sherwin-Williams Mission-lac, lightly sanded with oo sandpaper. One 
coat of Sherwin-Williams Velvet Finish Varnish shall then be applied. 


SPECIFICATION NO. I2 — NATURAL FINISH, VARNISH AND FILLER FOR 
WOODWORK OF OAK AND OPEN-GRAIN WOODS 


All oak (or other open-grain) woodwork in the following rooms shall 
be finished as follows: First, apply one coat of Sherwin-Williams Paste 
Filler, in shade selected by owner or architect, wiping off across the grain 
of wood with burlap or excelsior. When thoroughly dry, a coat of Sherwin- 
Williams Mission-lac shall be applied, and sanded with 00 sandpaper, after 
which two coats of Sherwin-Williams Durable Wood Finish Interior or 
Sherwin-Williams Excello shall be applied, the first coat of which shall 
be sanded with oo sandpaper, and the last coat rubbed with pumice-stone 
and oil or pumice-stone and water to a dull finish. 


[ 193 ] 


YOUR HOME ANDUILS DECORATION 


SPECIFICATION NO. 13 — NATURAL FINISH FOR WOODWORK OF 
HARD PINE AND ALL CLOSE-GRAIN WOODS 


All Southern pine (or other close-grain) woodwork in the following 
rooms shall be finished as follows: A coat of Sherwin-Williams Mission-lac 
shall first be applied and when thoroughly dry sanded with oo sandpaper, 
after which two coats of Sherwin-Williams Durable Wood Finish Interior 
or Sherwin-Williams Excello shall be applied, the first coat of which shall 
be sanded with oo sandpaper, and the last coat rubbed with pumice-stone 
and oil or pumice-stone and water to a dull finish. 


SPECIFICATION NO. 14 — STAINED, FILLED, AND VARNISHED FINISH FOR 
WOODWORK OF OAK AND OPEN-GRAIN WOODS 


All oak (or other open-grain) woodwork in the following rooms shall 
be finished as follows: First, apply one coat of Sherwin-Williams Hand- 
craft Stain, in color selected by owner or architect, and after allowing to 
dry over night apply one coat of Sherwin-Williams Paste Filler, in shade 
selected by owner or architect, wiping off the grain of the wood with burlap 
or excelsior. When thoroughly dry, a coat of Sherwin-Williams Mission-lac 
shall be applied and sanded with 00 sandpaper. Two coats of Sherwin- 
Williams Durable Wood Finish Interior or Sherwin-Williams Excello shall 
then be applied, sanding the first coat with oo sandpaper and rubbing the last 
coat to a dull finish with pumice-stone and oil. 


SPECIFICATION NO. 15 — STAINED, FILLED, AND VARNISHED FINISH FOR 
WOODWORK OF HARD PINE AND ALL CLOSE-GRAIN WOOD 

All Southern pine (or other close-grain) woodwork in the following 
rooms shall be finished as follows: Woodwork shall first be stained with 
Sherwin-Williams Handcraft Stain, in color selected by owner or architect, 
followed by one coat of Sherwin-Williams Mission-lac sanded lightly with 
oo sandpaper. When thoroughly dry, two coats of Sherwin-Williams Dur- 
able Wood Finish Interior or Sherwin-Williams Excello shall then be applied, 
the first coat of which shall be sanded with oo sandpaper and the last coat 
rubbed with pumice-stone and oil to a dull finish. 


SPECIFICATION NO. 16 — SPECIAL SPECIFICATION FOR MAHOGANY 
WOODWORK 


First apply one coat of Sherwin-Williams Handcraft Stain Mahogany, 
and after allowing to dry thoroughly fill the grain of the wood with Sherwin- 


[ 194 ] 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


Williams Mahogany Filler, wiping off across the grain with burlap or excel- 
sior. When thoroughly dry, a coat of Sherwin-Williams Mission-lac shall be 
applied and sanded with 0000 sandpaper. One coat of Sherwin-Williams 
Hard Drying Coater shall then be applied. This coat shall be given thirty- 
six hours to dry and then sanded down smooth with oo sandpaper, after 
which two coats of Sherwin-Williams Durable Wood Finish Interior shall 
be applied, the first coat of which shall be sanded with 0000 sandpaper. (For 
rubbed finish add the following — and the last coat rubbed with pumice- 
stone and oil, or pumice-stone and water to a dull finish. For polished 
finish add the following — and the last coat rubbed with pumice-stone and 
water and, after standing one day, polish with rottenstone and Sherwin- 
Williams Furniture Polish to the desired finish.) 


Cee Cae. ee) 6 6h en oe: tere. a 


SPECIFICATION NO. I16a—MAHOGANY STAIN ON MAHOGANY 


Mahogany woodwork in the following rooms shall be finished as follows : 
First apply one coat of Sherwin-Williams Handcraft Stain Mahogany, and 
after allowing to dry over night apply one coat of Sherwin-Williams Mahogany 
Filler, wiping off the grain of the wood with burlap or excelsior. When 


thoroughly dry, a coat of Sherwin-Williams Mission-lac shall be applied and 


sanded with oo sandpaper, after which one coat of Sherwin-Williams Hard 
Drying Coater shall be applied. This coat shall be allowed to dry thor- 
oughly and then sanded lightly. “Iwo coats of Sherwin-Williams Durable 
Wood Finish Interior or Sherwin-Williams Excello shall then be applied, 
sanding the first coat with 00 sandpaper and rubbing the last coat to a dull 
finish with pumice-stone and oil. 


a eee keer s Oe le Ae Poe ee) Ne 6 se eo ee ae Piet we Se ae 


Seer Sen Fe Sie a ee er ee So eer Oe See ge Whe Te ee 


SPECIFICATION NO. 17 — WHITE ENAMEL FINISH 
ON ANY WOOD (HIGH GLOSS) 


All woodwork or other parts designated in the following rooms shall be 
finished as follows: Three or more coats, as may be necessary, of Sherwin- 
Williams Flat-tone “‘White” shall be applied to produce a perfect surface 
and foundation for following coats of Sherwin-Williams Enamelastic. Allow 
sufficient time for thorough drying between coats of Flat-tone, and sand each 
coat with oo sandpaper, avoiding all brush marks. After this surface has 
been approved by architect or owner, apply one coat of Sherwin-Williams 
Enamelastic Interior. 


[ 195 ] 


YOUR HOME AND ITS DECORATION 


SPECIFICATION NO. I17a—WHITE ENAMEL FINISH ON ANY WOOD 
(ENAMELOID) 


All woodwork or other parts in the following rooms shall be finished as 
follows: Three or more coats, as may be necessary, of Sherwin-Williams 
“Flat White” shall be applied to produce a perfect surface and foundation 
for following coats of Sherwin-Williams Enameloid. Allow sufficient time 
for thorough drying between coats of “‘ Flat White,” and sand each coat with 
oo sandpaper, avoiding all brush marks. After this surface has been approved 
by architect or owner, apply one coat of Sherwin-Williams Enameloid. 


SPECIFICATION NO. 18 — WHITE ENAMEL FINISH 
ON ANY WOOD (RUBBED FINISH) 


All woodwork or other parts designated in the following rooms shall be 
finished as follows: ‘Three or more coats, as may be necessary, of Sherwin- 
Williams Flat-tone “White” shall be applied to produce a perfect surface 
and foundation for following coats of Sherwin-Williams Enamelastic. Allow 
sufficient time for thorough drying between coats of Flat-tone, and sand each 
coat with oo sandpaper, avoiding all brush marks. After this surface has 
been approved by the architect or owner, apply two coats of Sherwin-Williams 
Enamelastic, Hard Drying Interior, allowing time for thorough drying be- 
tween coats, and rubbing last coat to a dull finish with pumice-stone and oil 
or pumice-stone and water. 


SPECIFICATION NO. 19 — WHITE ENAMEL FINISH 
ON ANY WOOD (DULL FINISH) 


All siewpkral or other parts designated in the following rooms shall be 
finished as follows: ‘Three or more coats, as may be necessary, of Sherwin- 
Williams Flat-tone “‘White” shall be aeted to produce a perfect surface 
and foundation for following coats of Sherwin-Williams Enamelastic. Allow 
sufficient time for thorough drying between coats of Flat-tone, and sand each 
coat with oo sandpaper, avoiding all brush marks. After this surface has 
been approved by the architect or owner, apply one coat of Sherwin-Williams 
Enamelastic, Dull Finish Interior. 


SPECIFICATION NO. 20 — WHITE ENAMEL FINISH 
ON CEMENT OR PLASTER (HIGH GLOSS) 
All cement or plaster walls, wainscotings, or other parts designated in 
the following rooms shall be finished as follows: ‘Three or more coats, as 


[ 196 ] 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


may be necessary, of Sherwin-Williams Flat-tone ‘‘White” shall be applied 
to produce a perfect surface and foundation for following coats of Sherwin- 
Williams Enamelastic. Allow sufficient time for thorough drying between 
coats of Flat-tone, and sand each coat with 00 sandpaper, avoiding all brush 
marks. After this surface has been approved by architect or owner, apply 
one coat of Sherwin-Williams Enamelastic Interior. 


SPECIFICATION NO. 2I — NATURAL FINISH FOR FLOORS OF 
OAK AND ALL OPEN-GRAIN WOODS 


All oak (or other open-grain wood) floors in the following rooms 
shall be finished as follows: First the wood shall be filled with Sherwin- 
Williams Transparent Paste Filler; when thoroughly dry, sand down smooth 
with oo sandpaper, after which apply three coats of Sherwin-Williams Mar- 
not, first coat of which shall be thinned io per cent. and second coat 5 per 
cent. with pure spirits turpentine, and third coat to be applied as it comes 
from the can, allowing sufficient time between coats to thoroughly dry be- 
fore applying the succeeding coats. Each coat of Mar-not, except the last, 
shall be sanded with 00 sandpaper. (For a dull finish the last coat shall 
be rubbed with pumice-stone and oil.) 


SPECIFICATION NO. 22 — NATURAL FINISH FOR FLOORS OF 
HARD PINE AND ALL CLOSE-GRAIN WOOD 


All hard pine (or other close-grain wood) floors in the following rooms 
shall be finished as follows: Three coats of Sherwin-Williams Mar-not 
shall be applied, thinning first coat 10 per cent. and second coat 5 per cent. 
with pure spirits turpentine, and applying the third coat as it comes from 
the can, allowing sufficient time between coats for thorough drying. All 
coats of varnish, except the last, shall be sanded to a good surface with oo 
sandpaper. (For a dull finish the last coat shall be rubbed with pumice- 
stone and oil.) 


SPECIFICATION NO. 23 ——- STAINED AND WAX FINISH ON 
FLOORS OF PINE OR OTHER CLOSE-GRAIN WOOD 


All floors in the following rooms shall be finished as follows: First, 
the bare wood shall receive one coat of Sherwin-Williams Handcraft Stain, 
color to be selected by owner or architect, and allowed to dry over night. 


[ 197 ] 


YOUR HOME AND WITS DECORATION 


Then apply one coat of Sherwin-Williams Mission-lac, allow time to dry 
thoroughly, sandpaper to a smooth, dull surface, and apply Sherwin-Williams 
Floor Wax with a soft cloth. Rub off all surplus wax, bringing work to a wax 


polish. 


SPECIFICATION NO. 24.— STAINED AND WAX FINISH FOR FLOORS 
OF OAK OR OTHER OPEN-GRAIN WOOD 


All floors in the following rooms shall be finished as follows: First, 
the bare wood shall receive one coat of Sherwin-Williams Handcraft Stain, 
color to be selected by owner or architect, and allow to dry over might. One 
coat of Sherwin-Williams Paste Filler, color to be selected by owner or archi- 
tect, shall then be applied, and before it is set hard wiped off across the grain 
with burlap or excelsior. Then apply one coat of Sherwin-Williams Mis- 
sion-lac, allow time to dry thoroughly, sandpaper to a smooth, dull surface, 
and apply Sherwin-Williams Floor Wax with a soft cloth. Rub off all surplus 


wax, bringing work to a wax polish. 


SPECIFICATION NO. 25 —— STAINED AND VARNISHED FINISH FOR FLOORS 
OF OAK AND OPEN-GRAIN WOOD 


All oak (or other open-grain wood) floors in the following rooms shall 
be finished as follows: First, a coat of Sherwin-Williams Handcraft Stain, 
in color and strength of tone selected by owner or architect, shall be applied, 
followed by one coat of Sherwin-Williams Paste Filler, color to be selected 
by owner or architect, and before it is set hard wiped off across the grain 
with burlap or excelsior. When dry, sandpaper lightly with 00 sandpaper 
and apply three coats of Sherwin-Williams Mar-not, the first coat of which 
shall be thinned with to per cent. and the second coat 5 per cent. pure spirits 
turpentine, and the third coat to be applied as it comes from the can, allow- 
ing sufficient time between coats for thorough drying. Each coat of Mar- 
not, except the last, shall be sanded with 00 sandpaper. 


SPECIFICATION NO. 26 — STAINED AND VARNISHED FINISH FOR FLOORS OF 
HARD PINE, MAPLE, AND ALL CLOSE-GRAIN WOOD 


All hard pine (or other close-grain wood) floors in the following rooms 
shall be finished as follows: First, a coat of Sherwin-Williams Handcraft 
Stain, in color selected by owner or architect, shall be applied, followed by 


[ 198 ] 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


three coats of Sherwin-Williams Mar-not, the first coat of which shall be 
thinned 10 per cent. and the second coat 5 per cent. with pure spirits tur- 
pentine, and the last coat applied as it comes from the can, allowing sufh- 
cient time between coats for thorough drying. Each coat of Mar-not, ex- 
cept the last, shall be sanded. 


SPECIFICATION NO. 27 — STAINING AND VARNISHING FLOORS AT ONE 
OPERATION (NEW FLOORS) OF OAK AND ALL OPEN- 
GRAIN WOOD 


A coat of Sherwin-Williams Paste Filler, in shade selected by owner or 
architect, shall be applied, and before it is set hard wiped off across the grain 
with burlap or excelsior. A coat of Sherwin-Williams Floor-lac, in shade 
selected by owner or architect, shall then be applied as it comes from the 
can, followed after forty-eight hours, or when thoroughly dry, by one coat 
of Sherwin-Williams Floor-lac Clear in full body. Both coats of Floor-lac 
shall be brushed out well. 


SPECIFICATION NO. 28 — STAINING AND VARNISHING FLOORS AT ONE 
OPERATION (NEW FLOORS) OF HARD PINE, MAPLE, AND 
OTHER CLOSE-GRAIN WOOD 


A coat of Sherwin-Williams Floor-lac, in shade selected by owner or 
architect, shall be applied as it comes from the can. ‘This coat shall be 
brushed out well and after forty-eight hours, or when thoroughly dry, 
followed with a coat of Sherwin-Williams Floor-lac Clear, which shall be 
applied as it comes from the can. 


SPECIFICATION NO. 29 —— STAINING AND VARNISHING FLOORS AT ONE 
OPERATION (OLD FLOORS PREVIOUSLY FINISHED) 


First apply a coat of Sherwin-Williams Floor-lac Ground as it comes 
from the can. After forty-eight hours, or when thoroughly dry, a coat of 
Sherwin-Williams Floor-lac, in shade selected by owner or architect, shall 
be applied. Apply a coat of Sherwin-Williams Floor-lac Clear after forty- 
eight hours is allowed for thorough drying. 


SPECIFICATION NO. 30— PAINTED FINISH ON NEW AND OLD FLOORS NOT 
PREVIOUSLY PAINTED (INTERIOR) 


The surface shall first be cleaned and entirely free from grease and 
moisture. Three coats of Sherwin-Williams Inside Floor Paint shall then 
be applied, allowing forty-eight hours, or until perfectly dry, between each 
coat. 


[ 199 ] 


YOUR HOME AND ITS DECORATIOW 


SPECIFICATION NO. 31 — PAINTED FINISH ON OLD FLOORS WHICH HAVE 
BEEN PREVIOUSLY PAINTED (INTERIOR) 


The surface shall first be cleaned and entirely free from grease and 
moisture. “Iwo coats of Sherwin-Williams Inside Floor Paint shall then 
be applied, allowing forty-eight hours, or until perfectly dry, between each 
coat. (All stencils applied with Flat-tone Glaze Colors.) 


SPECIFICATION NO. 32— FOR UNSIGHTLY CRACKS AND SEAMS IN FLOORS 


All cracks and seams shall be thoroughly cleaned out, and after applying 
the first liquid coat they shall be filled with Sherwin-Williams Crack and 
Seam Filler. 


SPECIFICATION NO. 33 — FLAT-TONE FINISH ON ROUGH OR 
SMOOTH PLASTERED WALLS AND CEILINGS 


All plastered walls in the following rooms shall be finished as follows: 
First apply a coat of Sherwin-Williams Flat-tone, color to be selected by 
owner or architect, thinned bulk for bulk with a mixture composed of equal 
parts raw linseed oil and pure spirits turpentine. Apply second coat of 
Sherwin-Williams Flat-tone, thinned four parts Flat-tone with one part of 
liquid composed of equal parts pure spirits turpentine and pure raw linseed 
oil. Apply third or last coat of Sherwin-Williams Flat-tone, thinned two 
parts Flat-tone with one part pure spirits turpentine only. 


Nore.—Sherwin-Williams Wall Varnish Size can be used instead of the first coat of Flat-tone, if 
desired. 


SPECIFICATION NO. 34 — FLAT-TONE SYSTEM ON ROUGH OR 
SMOOTH PLASTERED WALLS AND CEILINGS 


All rough or smooth plastered walls and relief parts in the following 
rooms shall first be finished as specified above for “‘Flat-tone Finish.” After 
allowing this surface to dry thoroughly, a coat of Sherwin-Williams Flat- 
tone Glaze Color, in shades selected by owner or architect, shall be applied. 
Flat-tone Glaze Colors shall be reduced with Sherwin-Williams Flat-tone 
Glazing Liquid. 


SPECIFICATION NO. 35 — DECOTINT FINISH FOR CEILINGS AND WALLS 
(COLD WATER PAINT) 


The wall shall first be sized with a glue size or with Sherwin-Williams 
Special Wall Size. Mix Sherwin-Williams Decotint with cold water, using 


| $2003 | 


THE IMPORTANCE OF WORKING SPECIFICATIONS 
nn 
only enough water to make a heavy paste and stir thoroughly, until all lumps 
have disappeared before thinning down to proper brushing consistency. 
Then apply one or two coats with wide Kalsomine brush. 


SPECIFICATION NO. 36— STAINING AND VARNISHING WOODWORK AT ONE 
OPERATION (OLD WOODWORK OR FURNITURE PREVIOUSLY 
FINISHED) 


First apply a coat of Brighten-Up Stain Ground as it comes from the 
can. ‘After forty-eight hours, or when thoroughly dry, a coat of Brighten- 
Up Stain, in shade selected, shall be applied. 

Note: — A dull finish can be produced by applying one coat of Sherwin- 
Williams Velvet Finish Varnish after previous coats are thoroughly dry. 


SPECIFICATION NO. 37 — BRIGHTEN-UP FINISH ENAMEL FOR WOODWORK OR 
FURNITURE 


Lightly sand the surface to be enameled after it has been thoroughly 
cleaned and 1s perfectly dry. Then apply one coat of Brighten-Up Enamel 
Ground. This coat should also be sanded lightly after being allowed to 
dry thoroughly. One coat of Brighten-Up Finish Enamel, in the color 
selected, should then be applied. 

Nore: — If the surface is in poor condition, two coats of Enamel Ground 
may be necessary. 


SPECIFICATION NO. 38 — BRIGHTEN-UP FINISH BATH ENAMEL 


The surface of the tub should be very thoroughly clean, free from grease 
and soap, and then allowed to become perfectly dry. Rub the surface with 
fine sandpaper or pumice-stone until smooth, to better enable the enamel to 
adhere. Apply three coats of Brighten-Up Bath Enamel Porcelain. Apply 
with a fitch or soft bristle brush, spreading evenly and in thin coats. Allow 
at least forty-eight hours to dry, and for best results sand lightly with fine 
sandpaper or moss between each coat. Several days should be allowed 
after enameling before submitting water to such a surface, then run in cold 
water first, to assist in hardening the enamel. 


SPECIFICATION NO. 39 — STAIN AND VARNISH REMOVER (TAXITE) 


Apply one full coat of Taxite to the surface to be cleaned. As soon as 
the old paint or varnish becomes soft, the coat should be removed with a 
scraping or putty knife. Hard coatings may require a second application 
of Taxite. After removing the old paint or varnish, the surface of the wood 
should be cleaned at once with benzine, gasoline, or wood alcohol. When 
thoroughly dry, the surface.is ready for refinishing. 


[ 201 ] 


YOUR HOME ANDVITS, DECORATION 


SPECIFICATION NO. 40——-WHITE ENAMEL FINISH ON ANY WOOD 
(ENAMELASTIC EXTERIOR) 


All exterior woodwork or other parts designated (Enamelastic) shall be 
finished as follows: ‘Three or more coats, as may be necessary, of Sherwin- 
Williams Flat-tone “‘White” shall be applied to produce a perfect surface 
and foundation for following coats of Sherwin-Williams Enamelastic. Allow 
sufficient time for thorough drying between coats of Flat-tone, and sand each 
coat with oo sandpaper, avoiding all brush marks. After this surface has 
been approved by architect or owner, apply two coats of Sherwin-Williams 
Enamelastic Exterior, allowing sufficient time between coats for thorough 


drying. 


SPECIFICATION NO. 41—HANDCRAFT SYSTEM ON OPEN-GRAINED WOODS 
(EXCEPT EFFECT NUMBERS I, 24, 25, 26) 


All oak (or other open-grained woodwork) in the following rooms shall 
be finished as follows: One coat of Sherwin-Williams Handcraft System 
Stain, effect number selected by owner or architect, shall first be applied 
and allowed to stand eighteen to twenty-four hours for thorough drying. 
A coat of Sherwin-Williams Handcraft System Lacquer shall then be applied. 
Both stain and lacquer shall be applied with a good fitch brush. After 
the lacquer is thoroughly dry, sandpaper with oooo finishing paper to a per- 
fectly smooth surface. Next apply a coat of Sherwin-Williams Handcraft 
System Toner thinned with pure spirits turpentine to the consistency of 
paint. ‘The toner shall be applied to only such amount of surface at a time 
as will permit of its being wiped off perfectly clean with a soft cloth, removing 
all the toner from the work except that which remains and is meant to remain 
in the pores of the wood. 


Handcraft System, effect numbers 1, 24, 25, or 26, shall be used in the 
following rooms, and the following shall be added to the above specification 
for “Handcraft System.’ Allow the work to dry over night for the toner 
which is left in the pores to harden perfectly; then apply a coat of Sherwin- 
Williams Handcraft System Finishing. 


SPECIFICATION NO. 42—HIGH GLOSS FINISH FOR KITCHEN, BATH, AND 
LAVATORY WALLS 
First apply a coat of Sherwin-Williams Wall Varnish Size, and, when 
thoroughly dry, follow with two coats of Sherwin-Williams Enameloid, thin- 
ning the first coat of Enameloid to per cent. with pure spirits turpentine, 
and applying the second coat as it comes from the can. 


f.2027] 


THE IMPORTANCE OF WORKING SPECIFICATIONS 


CONTRACT 
THIS AGREEMENT made at CHUVLON as ee er Pek tas eye in 
“EB sa ae a eee thissto eee i CA WOR Oe wat a ti ts peer 
EIS EUCIWEHI ert. Tee Ye see of the City of 


CNS MEDS satel 2 iil ae ae a a a rr of the City of 


Party of Second Part: 

Witnesseth, that said Party of First Part for the Consideration of...... 
NT TOON oc Sin dt Oy inte eee aed toe ee aed on oe ae Dollars 
shall and will, within the period of.....................05. next after date 
hereof in a Good and Workmanlike Manner, and at his own proper charge 
and expense, well and thoroughly do and finish a certain piece of work on 
SIREN eae SAUDE CCU an eee Gyo dhcrdis gat. <ppcg he, epics dhe Shes Te 
ee ace eas TiC SaTC lth Obese cae Sein ee er 
according to the Specifications, Drawings, and Plans made and prepared by 
ee yc wits eS ae bons 2S , which Specifications, Drawings, 
and Plans are hereby made a part of this Contract, and are attached hereto 
RPE ag Cl Ee ECU VEL, (ADCS yO, 2 ay Ae ays: Rats aS ohne ee a eee 

It is Further Expressly Agreed and Understood by and between the 
Parties to this Contract, that if, at any time during the progress of the work, 
said Second Party, or the Architect in charge of work in or on said Building, 
shall be of the opinion that said First Party does not do the work according 
to, or does not furnish such material as provided for by this Agreement and 
said Specifications, Drawings, and Plans, said Second Party, or the Archi- 
tect in charge of said Work, may give to said First Party Notice of h...... 
dissatisfaction of the work done or materials furnished, and if said First 
Party, after being so notified, shall not Forthwith do the work according to 
this Contract and said Specifications, Drawings, and Plans, or if h...... 
shall not Forthwith furnish such material as herein provided for, then and 
in that case said Second Party, or the Architect in charge of said Work, shall 
have the right to Declare this Contract AT ONCE Null and Void, so far as 
the Second Party is bound by it,andto bringh...... action against said Party, 
and sue for any damage said Second Party may have sustained by reason of 
the neglect and failure on the part of the First Party to fulfill this Contract. 

It is expressly agreed and Understood by and between the Parties to 
this Contract, that said First Party SHALL HAVE NO CHARGE FOR 
EXTRA WORK ON MATERIAL, unless a written agreement has been 
signed by both parties, setting forth the nature of such extra work and mate- 
rials, and the price for the same. 

This Contract SHALL NOT BE ASSIGNED by said First Party with- 


out the consent, in writing, of the Second Party. 


[ 203 ] 


YOUR-HOME AND T7838 DECORATION 


In consideration of the Premises the said Party of Second Part shall well 
and truly pay in lawful money of the United States to said Party of First 
Part: 


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on the acceptance of the completed work by the Architect and — or Party 
of Second Part. 
IN WITNESS WHEREOF, the parties to this contract set their hands 


to. (duplicates: hereof) at. ..st ys oreo ee ee oe this 


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